1.
Indianapolis Museum of Art
–
The Indianapolis Museum of Art is an encyclopedic art museum located in Indianapolis, Indiana, United States. The museum, which underwent a $74 million expansion in 2005, is located on a 152-acre campus on the near northwest area outside downtown Indianapolis, the Indianapolis Museum of Art is the ninth oldest and eighth largest encyclopedic art museum in the United States. The permanent collection comprises over 54,000 works, including African, American, Asian, M. W. Turner, and a growing contemporary art collection. Other areas of emphasis include textiles and fashion arts as well as a recent focus on modern design, in addition to its collections, the museum consists of 100 Acres, The Virginia B. The IMA also owns the Miller House, a Mid-Century modern home designed by Eero Saarinen and located in Columbus, the museums holdings demonstrate the institutions emphasis on the connections among art, design, and the natural environment. Founded in 1883 by the Art Association of Indianapolis, the first permanent museum was opened in 1906 as part of the John Herron Art Institute, among the Art Associations founders was May Wright Sewall, known for her work in the womens suffrage movement. Other supporters have included Booth Tarkington, Eli Lilly, Herman C, the associated John Herron Art Institute was established with the help of notable Hoosier Group artists T. C. Dr. Charles L. Venable is the current Melvin and Bren Simon Director, the museum is widely recognized as innovative in its development of open source technologies, institutional transparency, and collaboration between museums. In 2008, the IMA became the first fine art museum to be named an Energy Star partner due to its greening initiative and efforts to reduce energy consumption. In 2009, the IMA was awarded the National Medal for Museum and Library Service for public service, specifically the museums free admission policy, the Indianapolis Museum of Art was founded as the Art Association of Indianapolis, an open-membership group led by the suffragist May Wright Sewall. Formed in 1883, the organization aimed to inform the public about visual art, the Art Associations first exhibition, which opened November 7,1883, contained 453 artworks from 137 artists. The death of wealthy Indianapolis resident John Herron in 1895 left a substantial bequest with the stipulation that the money be used for a gallery, the John Herron Art Institute opened in 1902 at the corner of 16th and Pennsylvania street. Emphasis on the Arts and Crafts movement grew throughout the years of the school. William Henry Fox was hired in 1905 as the Art Institutes first director, from 1905 to 1910, Fox managed both the museum and the school while constructing two new buildings on the 16th street site. From the 1930s until the 1950s, the John Herron Art Institute placed an emphasis on professionalism, wilbur Peat, director of the museum from 1929 until 1965, acquired significant portions of the collection. Peat also made connections with such as Dr. George H. A. Clowes, Booth Tarkington. After years of debate surrounding expansion and relocation of the museum and school, Lilly III and Ruth Lilly, donated the family estate, Oldfields, to the Art Association of Indianapolis in 1966. One year later it was decided that the school would become a part of Indiana Universitys Indianapolis campus in an effort to assist with accreditation

2.
Neo-Impressionism
–
Neo-Impressionism is a term coined by French art critic Félix Fénéon in 1886 to describe an art movement founded by Georges Seurat. Around this time, the peak of France’s modern era emerged, followers of Neo-Impressionism, in particular, were drawn to modern urban scenes as well as landscapes and seashores. Science-based interpretation of lines and colors influenced Neo-Impressionists characterization of their own contemporary art, the Pointillist and Divisionist techniques are often mentioned in this context, because it was the dominant technique in the beginning of the Neo-impressionist movement. Some argue that Neo-Impressionism became the first true movement in painting. The Neo-Impressionists were able to create a movement very quickly in the 19th century, partially due to its connection to anarchism. The movement and the style were an attempt to drive harmonious vision from modern science, anarchist theory, during the emergence of Neo-Impressionism, Seurat and his followers strove to refine the impulsive and intuitive artistic mannerisms of Impressionism. Neo-impressionists used disciplined networks of dots and blocks of color in their desire to instill a sense of organization, in further defining the movement, Seurat incorporated the recent explanation of optic and color perceptions. The development of theory by Michel Eugène Chevreul and others by the late 19th century played a pivotal role in shaping the Neo-Impressionist style. Ogden Rood’s book, Modern Chromatics, with Applications to Art and Industry, acknowledged the different behaviors exhibited by colored light, while the mixture of the former created a white or gray color, that of the latter produced a dark, murky color. As painters, Neo-Impressionists had to deal with colored pigments, so to avoid the dullness, mixing of colors was not necessary. There are a number of alternatives to the term Neo-Impressionism and each has its own nuance and it emphasized the studies of color and light which were central to his artistic style. This term is used today. Divisionism, which is commonly used, is used to describe a mode of Neo-Impressionist painting. It refers to the method of applying individual strokes of complementary, unlike other designations of this era, the term Neo-Impressionism was not given as a criticism. Instead, it embraces Seurats and his followers ideals in their approach to art, note, Pointillism merely describes a later technique based on divisionism in which dots of color instead of blocks of color are applied. Neo-Impressionism was first presented to the public in 1886 at the Salon des Indépendants, the Indépendants remained their main exhibition space for decades with Signac acting as president of the association. But with the success of Neo-Impressionism, its fame spread quickly, in 1886, Seurat and Signac were invited to exhibit in the 8th and final Impressionist exhibition, later with Les XX and La Libre Esthétique in Brussels. In 1892, a group of Neo-Impressionist painters united to show their works in Paris, in the Salons of the Hôtel Brébant,32, the following year they exhibited at 20, rue Laffitte

3.
Modern art
–
Modern art includes artistic work produced during the period extending roughly from the 1860s to the 1970s, and denotes the style and philosophy of the art produced during that era. The term is associated with art in which the traditions of the past have been thrown aside in a spirit of experimentation. Modern artists experimented with new ways of seeing and with ideas about the nature of materials. A tendency away from the narrative, which was characteristic for the traditional arts, more recent artistic production is often called contemporary art or postmodern art. Matisses two versions of The Dance signified a key point in his career and in the development of modern painting, analytic cubism was jointly developed by Picasso and Georges Braque, exemplified by Violin and Candlestick, Paris, from about 1908 through 1912. Synthetic cubism is characterized by the introduction of different textures, surfaces, collage elements, papier collé, the notion of modern art is closely related to modernism. Although modern sculpture and architecture are reckoned to have emerged at the end of the 19th century, the beginnings of modern painting can be located earlier. The date perhaps most commonly identified as marking the birth of art is 1863. Earlier dates have also proposed, among them 1855 and 1784. In the words of art historian H, harvard Arnason, Each of these dates has significance for the development of modern art, but none categorically marks a completely new beginning. A gradual metamorphosis took place in the course of a hundred years, the strands of thought that eventually led to modern art can be traced back to the Enlightenment, and even to the 17th century. The important modern art critic Clement Greenberg, for instance, called Immanuel Kant the first real Modernist but also drew a distinction, The Enlightenment criticized from the outside. The French Revolution of 1789 uprooted assumptions and institutions that had for centuries been accepted with little question and this gave rise to what art historian Ernst Gombrich called a self-consciousness that made people select the style of their building as one selects the pattern of a wallpaper. The pioneers of art were Romantics, Realists and Impressionists. By the late 19th century, additional movements which were to be influential in art had begun to emerge. The advocates of realism stood against the idealism of the academic art that enjoyed public. The most successful painters of the day worked either through commissions or through public exhibitions of their own work. There were official, government-sponsored painters unions, while governments regularly held exhibitions of new fine

4.
African art
–
African art is a term typically used for the art of Sub-Saharan Africa. Often, casual, amateur observers tend to generalize traditional African art, the definition may also include the art of the African diasporas, such as the art of African Americans. Despite this diversity, there are some unifying artistic themes when considering the totality of the culture from the continent of Africa. The term African art does not usually include the art of the North African areas along the Mediterranean coast, for more than a millennium, the art of such areas had formed part of Islamic art, although with many particular characteristics. The art of Ethiopia, with a long Christian tradition, is different from that of most of Africa. Masks are important elements in the art of many peoples, along with human figures, direct images of deities are relatively infrequent, but masks in particular are or were often made for religious ceremonies, today many are made for tourists as airport art. African masks were an influence on European Modernist art, which was inspired by their lack of concern for naturalistic depiction, since the late 19th century there has been an increasing amount of African art in Western collections, the finest pieces of which are now prominently displayed. Many West African figures are used in rituals and are often coated with materials placed on them for ceremonial offerings. The Mande-speaking peoples of the region make pieces from wood with broad, flat surfaces and arms. In Central Africa, however, the main distinguishing characteristics include heart-shaped faces that are curved inward and display patterns of circles, eastern Africans, in many areas shorter of large timber to carve, are known for Tinga Tinga paintings and Makonde sculptures. There is also tradition of producing textile art, Modern Zimbabwean sculptors in soapstone have achieved considerable international success. Southern Africas oldest known clay figures date from 400 to 600 AD and have heads with a mixture of human. An example would be Dan artistry as well as its presence in the Western African diaspora, emphasis on the human figure, The human figure has always been the primary subject matter for most African art, and this emphasis even influenced certain European traditions. Another common theme is the inter-morphosis of human and animal, visual abstraction, African artworks tend to favor visual abstraction over naturalistic representation. This is because many African artworks generalize stylistic norms, emphasis on sculpture, African artists tend to favor three-dimensional artworks over two-dimensional works. Even many African paintings or cloth works were meant to be experienced three-dimensionally, distinct from the static form of traditional Western sculpture African art displays animation, a readiness to move. For example, traditional African masks and costumes very often are used in communal, ceremonial contexts, in African thought, the three cannot be differentiated. Nonlinear scaling, Often a small part of an African design will look similar to a larger part, louis Senghor, Senegals first president, referred to this as dynamic symmetry

5.
Asian art
–
The history of Asian art, or Eastern art, includes a vast range of influences from various cultures and religions. Developments in Asian art historically parallel those in Western art, in general a few centuries earlier, Chinese art, Indian art, Korean art, Japanese art, each had significant influence on Western art, and, vice versa. Near Eastern art also had a significant influence on Western art, excluding prehistoric art, the art of Mesopotamia represents the oldest forms of Asian art. Balinese art is art of Hindu-Javanese origin that grew from the work of artisans of the Majapahit Kingdom, from the 16th until the 20th centuries, the village of Kamasan, Klungkung, was the centre of classical Balinese art. During the first part of the 20th century, new varieties of Balinese art developed, since the late twentieth century, Ubud and its neighboring villages established a reputation as the center of Balinese art. Ubud and Batuan are known for their paintings, Mas for their woodcarvings, Celuk for gold and silver smiths, eiseman correctly pointed out that Balinese art is actually carved, painted, woven, and prepared into objects intended for everyday use rather than as object d art. This groundbreaking period of creativity reached a peak in the late 1930s, a stream of famous visitors, including Charlie Chaplin and the anthropologists Gregory Bateson and Margaret Mead, encouraged the talented locals to create highly original works. During their stay in Bali in the mid-1930s, Bateson and Mead collected over 2000 paintings, predominantly from the village of Batuan, among western artists, Spies and Bonnet are often credited for the modernization of traditional Balinese paintings. From the 1950s onwards Baliese artists incorporated aspects of perspective and anatomy from these artists, more importantly, they acted as agents of change by encouraging experimentation, and promoted departures from tradition. The result was an explosion of expression that increased the rate of change in Balinese art. Buddhist art traveled with believers as the spread, adapted. It developed to the north through Central Asia and into Eastern Asia to form the Northern branch of Buddhist art, bhutanese art is similar to the art of Tibet. Both are based upon Vajrayana Buddhism, with its pantheon of divine beings, the major orders of Buddhism in Bhutan are Drukpa Kagyu and Nyingma. The former is a branch of the Kagyu School and is known for documenting the lineage of Buddhist masters. The Nyingma order is known for images of Padmasambhava, who is credited with introducing Buddhism into Bhutan in the 7th century, according to legend, Padmasambhava hid sacred treasures for future Buddhist masters, especially Pema Lingpa, to find. The treasure finders are also frequent subjects of Nyingma art, each divine being is assigned special shapes, colors, and/or identifying objects, such as lotus, conch-shell, thunderbolt, and begging bowl. All sacred images are made to specifications that have remained remarkably unchanged for centuries. Wall paintings and sculptures, in regions, are formulated on the principal ageless ideals of Buddhist art forms

6.
Contemporary art
–
Contemporary art is the art of today, produced by artists who are living in the twenty-first century. Contemporary art provides an opportunity to reflect on contemporary society and the relevant to ourselves. Contemporary artists work in a globally influenced, culturally diverse, and their art is a dynamic combination of materials, methods, concepts, and subjects that challenge traditional boundaries and defy easy definition. In vernacular English, modern and contemporary are synonyms, resulting in some conflation of the modern art. Some define contemporary art as art produced within our lifetime, recognizing that lifetimes, however, there is a recognition that this generic definition is subject to specialized limitations. The classification of art as a special type of art, rather than a general adjectival phrase. In London, the Contemporary Art Society was founded in 1910 by the critic Roger Fry and others, as a private society for buying works of art to place in public museums. A number of other institutions using the term were founded in the 1930s, such as in 1938 the Contemporary Art Society of Adelaide, Australia, particular points that have been seen as marking a change in art styles include the end of World War II and the 1960s. There has perhaps been a lack of natural break points since the 1960s, and definitions of what contemporary art in the 2010s vary. Art from the past 20 years is likely to be included, and definitions often include art going back to about 1970, the art of the late 20th and early 21st century. Many use the formulation Modern and Contemporary Art, which avoids this problem, smaller commercial galleries, magazines and other sources may use stricter definitions, perhaps restricting the contemporary to work from 2000 onwards. One of the many people have in approaching contemporary artwork is its diversity - diversity of material, form, subject matter. It is distinguished by the lack of a uniform organizing principle, ideology, or -ism that we so often see in other. Broadly speaking, we see Modernism as looking at modernist principals - the focus of the work is self-referential, likewise, Impressionism looks at our perception of a moment through light and color as opposed to attempts at stark realism. Contemporary art, on the hand, does not have one. Its view, instead, is refracted, prismatic, and multi-faceted, reflecting the diversity of the world today, in all of its complexities, contemporary art reflects life as we know it. It can be, therefore, contradictory, confusing, and open-ended, there are, however, a number of common themes that have appeared in contemporary works. Post-modern, post-structuralist, feminist, and Marxist theory have played important roles in the development of theories of art

7.
Sunlight (Benson)
–
Sunlight is an oil painting by Frank Weston Benson currently in the permanent collection at the Indianapolis Museum of Art. Sunlight is created in the American impressionist style and it is a portrait of a woman, who has been identified as Bensons daughter, Eleanor, standing on a hill, looking out towards the Atlantic Ocean off Penobscot Bay in Maine. She is in a dress that is getting ruffled by the wind blowing off the ocean. Her left hand is up, shielding her face from the sun, while her hand is planted on her hip. Because of the woman shielding her eyes form the sun, it is likely that the sunlight is the subject of the painting. Frank W Benson started working with the Impressionist style at the turn of the 20th century, Benson was one of the forerunners of American Impressionism, especially within the Ten American Painters. Benson was known for painting the idealized world, especially that of the leisure of New England, Benson was, like most Impressionists, very interested in light. Benson himself stated that, I follow the light, where it comes from, painted in 1909, the painting was included in the Sixth Annual Exhibition of Works by American Artists, December 4,1910 - January 1,1911. It was later purchased from the artist by the John Herron Art Institute, now Indianapolis Museum of Art, List of works by Frank Weston Benson List of artworks at the Indianapolis Museum of Art

8.
Frank W. Benson (painter)
–
He began his career painting portraits of distinguished families and murals for the Library of Congress. Some of his best known paintings depict his daughters outdoors at Bensons summer home, Wooster Farm, on the island of North Haven and he also produced numerous oil, wash and watercolor paintings and etchings of wildfowl and landscapes. In 1880, Benson began to study at the School of the Museum of Fine Arts, Boston under Otto Grundmann and he enjoyed a distinguished career as an instructor and department head at the School of the Museum of Fine Arts, Boston. He was a member of the Ten American Painters, American Academy of Arts and Letters. Frank Weston Benson was born to George Wiggin Benson, a cotton broker. Benson obtained his appreciation of the sea from his grandfather, Captain Samuel Benson, when he was 12, he was given a sailboat in which he explored the waterways and marshes and raced against his siblings. The children kept active roller-skating, playing tennis, ice-skating, boxing, fishing and hunting, Bensons father gave him a shotgun and taught him how to hunt shore birds along the North Shore and wildfowl in the local fields and marshes. He spent nearly all of his weekends hunting or fishing in the fields, marshes, to his good friend Dan Henderson, he wrote of their childhood adventures, We used to spend our Saturdays chasing coot and old squaws in Salem Harbor. Then, after working all day to get one bird, in we would assemble at Sam Shrum’s or mine. What a minute account each had to give of each movement of every bird seen and it was almost criminal to miss an easy shot in those days, so many excuses had to be invented. One word would have served for all in my case if it had been invented then, I was generally rattled, I think and his brother, John Prentiss Benson, was an architect and painter in his own right. An avid birdwatcher and wildfowl hunter, Benson wanted to be an ornithological illustrator, at the age of 16, he painted Rail, one of his first oil paintings, after a hunting trip. He began his studies at the School of the Museum of Fine Arts, Boston in 1880, capitalizing on what he learned, Benson held drawing classes in Salem and painted landscapes during the summer of 1882. On Bensons 21st birthday his parents gave him a gift of $2,000 to study in Europe and he traveled to Paris and studied at the Académie Julien from 1883 to 1884 with Edmund Tarbell and Joseph Lindon Smith, Joseph Lindon Smith and Benson shared an apartment. At the Academy, Benson studied under Jules-Joseph Lefebvre, William Turner Dannat, Gustave Boulanger, one of Bensons teachers at Académie Julien, said to him, Young man, your career is in your hands. After his study at Académie Julien, Benson traveled to Englands Royal Academy to see his painting After the Storm on exhibit, Benson was deeply influenced by Johannes Vermeer and Diego Velázquez, masters from the seventeenth-century. Vermeer painted few works during his lifetime, about 35-36 paintings, the Dutch artist from Delft was astute in his depiction of light and poetic quality of his subjects. Influences Impressionism, particularly the work of Claude Monet, played a role in the development of Bensons own American Impressionistic style and he capitalized on Monets color palette and brush strokes and keenly depicted reflected light, yet maintained some detail in the composition

9.
Oil paint
–
Oil paint is a type of slow-drying paint that consists of particles of pigment suspended in a drying oil, commonly linseed oil. The viscosity of the paint may be modified by the addition of a solvent such as turpentine or white spirit, Oil paints have been used in Europe since the 12th century for simple decoration, but were not widely adopted as an artistic medium until the early 15th century. Common modern applications of oil paint are in finishing and protection of wood in buildings and exposed metal structures such as ships and its hard-wearing properties and luminous colors make it desirable for both interior and exterior use on wood and metal. Due to its properties, it has recently been used in paint-on-glass animation. Thickness of coat has considerable bearing on time required for drying, the literature abounds with incorrect theories and information, in general, anything published before 1952 is suspect. Until 1991 nothing was known about the aspect of cave paintings from the Paleolithic era. Many assumptions were made about the chemistry of the binders, the oldest known oil paintings date from 650 AD, found in 2008 in caves in Afghanistans Bamiyan Valley, using walnut and poppy seed oils. Though the ancient Mediterranean civilizations of Greece, Rome, and Egypt used vegetable oils, indeed, linseed oil was not used as a medium because of its tendency to dry very slowly, darken, and crack, unlike mastic and wax. Greek writers such as Aetius Amidenus recorded recipes involving the use of oils for drying, such as walnut, poppy, hempseed, pine nut, castor, when thickened, the oils became resinous and could be used as varnish to seal and protect paintings from water. Additionally, when yellow pigment was added to oil, it could be spread over tin foil as an expensive alternative to gold leaf. Early Christian monks maintained these records and used the techniques in their own artworks, theophilus Presbyter, a 12th-century German monk, recommended linseed oil but advocated against the use of olive oil due to its long drying time. Oil paint was used as it is today in house decoration, as a tough waterproof cover for exposed woodwork. In the 13th century, oil was used to detail tempera paintings, in the 14th century, Cennino Cennini described a painting technique utilizing tempera painting covered by light layers of oil. The slow-drying properties of organic oils were commonly known to early painters, however, the difficulty in acquiring and working the materials meant that they were rarely used. As public preference for naturalism increased, the quick-drying tempera paints became insufficient to achieve the very detailed and precise effects that oil could achieve. Van Eyck’s mixture may have consisted of piled glass, calcined bones, the new mixture had a honey-like consistency and better drying properties. This mixture was known as oglio cotto—cooked oil, leonardo da Vinci later improved these techniques by cooking the mixture at a very low temperature and adding 5 to 10% beeswax, which prevented darkening of the paint. Giorgione, Titian, and Tintoretto each may have altered this recipe for their own purposes, the use of any cooked oils or Litharge darkens an oil painting rapidly

10.
Canvas
–
Canvas is an extremely durable plain-woven fabric used for making sails, tents, marquees, backpacks, and other items for which sturdiness is required. It is also used by artists as a painting surface. It is also used in such objects as handbags, electronic device cases. The word canvas is derived from the 13th century Anglo-French canevaz, both may be derivatives of the Vulgar Latin cannapaceus for made of hemp, originating from the Greek κάνναβις. Modern canvas is made of cotton or linen, although. It differs from other cotton fabrics, such as denim. Canvas comes in two types, plain and duck. The threads in duck canvas are more tightly woven, the term duck comes from the Dutch word for cloth, doek. In the United States, canvas is classified in two ways, by weight and by a number system. The numbers run in reverse of the weight so a number 10 canvas is lighter than number 4, canvas has become the most common support medium for oil painting, replacing wooden panels. One of the earliest surviving oils on canvas is a French Madonna with angels from around 1410 in the Gemäldegalerie, however, panel painting remained more common until the 16th century in Italy and the 17th century in Northern Europe. Mantegna and Venetian artists were among those leading the change, Venetian sail canvas was readily available, as lead-based paint is poisonous, care has to be taken in using it. Early canvas was made of linen, a sturdy brownish fabric of considerable strength, linen is particularly suitable for the use of oil paint. In the early 20th century, cotton canvas, often referred to as cotton duck, linen is composed of higher quality material, and remains popular with many professional artists, especially those who work with oil paint. Cotton duck, which stretches more fully and has an even, mechanical weave, the advent of acrylic paint has greatly increased the popularity and use of cotton duck canvas. Linen and cotton derive from two different plants, the flax plant and the cotton plant, respectively. Gessoed canvases on stretchers are also available and they are available in a variety of weights, light-weight is about 4 oz or 5 oz, medium-weight is about 7 oz or 8 oz, heavy-weight is about 10 oz or 12 oz. They are prepared with two or three coats of gesso and are ready for use straight away, artists desiring greater control of their painting surface may add a coat or two of their preferred gesso

11.
Breton Women at a Wall
–
Breton Women at a Wall is an oil painting by Émile Bernard. It is part of the permanent collection of the Indianapolis Museum of Art, Bernard most likely painted this painting from memory, modeled after a trip he took with Paul Gauguin in 1888 to Brittany. The painting has five Breton women and one man gathering around a wall and their faces are pointed down toward the cobblestone wall. Their heads are covered in traditional Pont-Aven coiffes and they are in traditional Brittany wear, the painting is proliferated with bright cobalts, yellows, greens, and reds, and are chosen for effect, rather than accuracy in representation. The women all have facial features, but they are indistinguishable. Bernard uses harsh, graphic outlines to help define the features on the womens outfits, the man is dressed in all green, and facing the rest of the women. The characters are flat, recalling Bernards love of Japanese prints. The placement of the figures shows Bernards disregard to traditional rules, Bernard would draw on his experiences in Brittany throughout his life. The painting went through private hands between 1893 and 1959, before landing in the hands of Swiss art collector Samuel Josefowitz. In 1998, the Indianapolis Museum of Art purchased the painting, along with 30 Gauguins, post-impressionism List of artworks at the Indianapolis Museum of Art

12.
Cardboard (paper product)
–
Despite widespread use in general English and French, the term is deprecated in business and industry. Material producers, container manufacturers, packaging engineers, and standards organizations, there is still no complete and uniform usage. Often the term cardboard is avoided because it does not define any particular material, the term has been used since at least as early as 1848, when Anne Brontë mentioned it in her novel, The Tenant of Wildfell Hall. This marked the origin of the box, though in modern times the sealed bag is plastic and is kept inside the box rather than outside. Various types of cards are available, which may be called cardboard, paperboard is a paper-based material, usually more than about ten mils in thickness. It is often used for folding cartons, set-up boxes, carded packaging, configurations of paperboard include, Containerboard, used in the production of corrugated fiberboard. Folding boxboard, made up of layers of chemical and mechanical pulp. Solid bleached board is made purely from bleached chemical pulp and usually has a mineral or synthetic pigment, solid unbleached board is typically made of unbleached chemical pulp. White lined chipboard is typically made from layers of paper or recycled fibers. Because of its content it will be grey from the inside. Binders board, a used in bookbinding for making hardcovers. Modernly, materials falling under these names may be made using any actual paper. Corrugated fiberboard is a combination of paperboards, usually two flat liners and one inner fluted corrugated medium and it is often used for making corrugated boxes for shipping or storing products. This type of cardboard is also used by artists as original material for sculpting, most types of cardboard are recyclable. Boards that are laminates, wax coated, or treated for wet-strength are often difficult to recycle. Clean cardboard is usually worth recovering, although often the difference between the value it realizes and the cost of recovery is marginal, cardboard can be recycled industrially, or for home uses. For example, cardboard may be composted or shredded for animal bedding, cardboard box Carton Corrugated box design Folding carton Juicebox cardboard furniture

13.
Tidying Up
–
Tidying Up is an oil painting by American artist Isabel Bishop. It is currently in the permanent collection at the Indianapolis Museum of Art, Tidying Up depicts a young contemporary working woman in an unguarded moment of checking herself in her hand mirror. Bishops work generally focuses on young women caught during the idle moments away from their jobs and her active brushwork served to reflect the upward social mobility experienced by working women of this period, while her color palette recalls works of the Italian Renaissance. Bishops subject matter is quickly rendered, and lines are expressive and her quick brushstroke evokes the everyday activity and animation of the modern city. Educated at the New York School of Applied Design for Women, Bishop was part of the loosely organized Fourteenth Street School and they painted scenes of daily life that concentrated on middle-class and lower-class peoples. Bishop focused on subjects, usually in work settings. She spent more than ten years painting the secretaries, sales clerks and her favorite subject was women going about their everyday lives, eating, talking, putting on makeup, taking off their coats. These ordinary motions produced facial expressions that Bishop felt revealed the personality of the people she portrayed, the Indianapolis Museum of Art purchased Tidying Up from Midtown Galleries in New York City in 1943. List of artworks at the Indianapolis Museum of Art

14.
Isabel Bishop
–
Isabel Bishop was an American painter and graphic artist who depicted urban scenes of Union Square, New York, from the 1930s to the 1970s. She is best known for her depiction of American women and as a member of the Fourteenth Street School of artists. Bishop was born in Cincinnati, Ohio and her parents were descended from old, wealthy and highly educated East Coast mercantile families. Her father was a scholar of Greek and Latin, and her mother was a writer as well as an early activist for womens suffrage. After the family relocated to Detroit, Bishop began her art education at the age of 12 in a Saturday morning life drawing class at the John Wicker Art School in Detroit. Upon graduating from school, Bishop moved to New York to pursue a career as a graphic artist. At the age of 16 she moved to New York City to study illustration at the New York School of Applied Design for Women, after two years there she shifted from illustration to painting, and attended the Art Students League for four years until 1924. It was there that she studied with Guy Pène du Bois and with Kenneth Hayes Miller, in addition, she learned from other early modernists including Max Weber and Robert Henri. During the early 1920s she also studied and painted in Woodstock, through the 1920s and 1930s she developed a realist style of painting, primarily depicting women in their daily routine on the streets of Manhattan. Her work was influenced by Peter Paul Rubens and other Dutch. In 1932, Bishop began showing her work frequently at the newly opened Midtown Galleries, in 1934, Bishop married Dr. Harold G. Wolff, a neurologist, and moved to Riverdale New York. However, she continued to work in a studio near Union Square at 9 West Fourteenth St. She became interested in the interaction of form and ground and the mobility of everyday life, what she called unfixity, life and her style is noted for its sensitive modeling of form and a submarine pearliness and density of atmosphere. During this time, Bishop began working in printing techniques. She returned to the Art Students League as an instructor from 1936 to 1937, in 1940, Bishop was elected into the National Academy of Design as an associate member, and became a full member in 1941. In 1938, she painted a post office mural, Great Men Came from the Hills, in New Lexington, Ohio, through the Section of Painting, Bishops mature works mainly depict the inhabitants of New Yorks Union Square area. Her portraits are often studies of heads, the emphasis securely on the subjects expression – or of solitary nudes. Bishop was also a pioneer in multiple-figure compositions, often containing two females engaged in various workday interactions, in the post-war years, Bishops interest turned to more abstracted scenes of New Yorkers walking and traveling, in the streets or on the subways

15.
Masonite
–
Masonite is a type of hardboard made of steam-cooked and pressure-molded wood fibres in a process patented by William H. Mason. This product is known as Quartrboard, Isorel, hernit, karlit. A product resembling masonite was first made in England in 1898 by hot-pressing waste paper, Masonite was patented in 1924 in Laurel, Mississippi, by William H. Mason, who was a friend and protégé of inventor Thomas Edison. In the 1930s and 1940s, Masonite was used for applications including doors, roofing, walls, desktops. It was sometimes used for house siding, similar tempered hardboard is now a generic product made by many forest product companies. Forming the fibers into boards on a screen, the boards are then pressed and heated to form the product with a smooth burnished finish. The original lignin in the wood serves to bond the fibers without any added adhesive, the long fibers give Masonite a high bending strength, tensile strength, density, and stability. Unlike other composite wood panels, no formaldehyde-based resins are used to bind the fibers in Masonite, artists have often used it as a support for painting, and in artistic media such as linocut printing. Masonites smooth surface makes it a material for table tennis tables. Moving companies are large users of Masonite, among other things, they use it to protect the walls of buildings they are working in, and lay it on floors to enable smooth rolling of dollies loaded with goods. Masonite is widely used in construction, particularly in high-end renovations where floors are finished prior to other work, sheets of ⅛ or ¼ Masonite are typically laid over red rosin paper on finished floors to protect them. The Masonite sheets are taped together with tape to prevent shifting. Masonite is also used extensively in the construction of sets for theater and film and it is especially common in theaters as the stage floor, painted matte black. It is also considered one of the best materials in the making of a wobble board. Masonite 4x8 panels are sometimes purchased and sawn into 4 high x8 long strips and these 4 high strips are used by concrete workers for forming the perimeter or outside edge of sidewalks where curved walkways are desired when concrete is poured into forms. To a lesser extent, Masonite is used in guitar bodies, Masonite was also a popular protective backing for wooden console stereo and television cabinets, from the 1960s to the 1980s. Masonite swells and rots over time when exposed to the elements, in 1996, International Paper lost a class action suit brought by homeowners whose Masonite siding had deteriorated. The jury found that IPs Masonite siding was defective

16.
Morning at Grand Manan
–
Morning at Grand Manan is an oil painting by Alfred Thompson Bricher. It is part of the permanent collection at the Indianapolis Museum of Art, painted along Grand Manan Island, a favorite vacation spot of the artist in New Brunswick, Canada, Bricher painted the sunrise coming above the Atlantic Ocean in a tiny inlet on the coast. Four sailing ships are visible against the pink sky. On the left of the canvas, a sharp, rocky cliff face is seen, Bricher clearly depicts each wave rolling onto the beach in minute detail. The sun is positioned a little left of center of the canvas, just like the Hudson River painters, Bricher hides his brushstrokes, as if to make the canvas disappear. Alfred Thompson Bricher was part of the American Luminist movement, coming out of the Hudson River School, much like the Impressionists, they were interested in the play of light in landscapes, with Bricher himself being particularly interested in how light played against the ocean. Bricher, in particular, became famous for his seascapes and depicting the North Atlantic seaboard, Bricher is considered the last important luminist painter. Morning at Grand Manan came at the height of his career, Bricher sold Morning at Grand Manan to the Vose Gallery in Boston in 1898. The Indianapolis Museum of Art purchased the painting in 1970 using the Martha Delzell Memorial Fund, list of artworks at the Indianapolis Museum of Art

17.
Alfred Thompson Bricher
–
Alfred Thompson Bricher was a painter associated with White Mountain art and the Hudson River School. Bricher was born in Portsmouth, New Hampshire and he was educated in an academy at Newburyport, Massachusetts. He began his career as a businessman in Boston, Massachusetts, when not working, he studied at the Lowell Institute. He also studied with Albert Bierstadt, William Morris Hunt, and he attained noteworthy skill in making landscape studies from nature, and after 1858 devoted himself to the art as a profession. He opened a studio in Boston, and met some success there. In 1868 he moved to New York City, and at the National Academy of Design that year he exhibited “Mill-Stream at Newburyport. ”Soon afterward he began to use watercolors in preference to oils, and in 1873 was chosen a member of the American Watercolor Society. In the 1870s, he primarily did maritime themed paintings, with attention to paintings of landscape, marine. He often spent summers in Grand Manan, where he produced such notable works as Morning at Grand Manan, in 1879, Bricher was elected into the National Academy of Design as an Associate member. Bricher was one of the last painters of the famed Hudson River School, by the end of his life, his style of painting that included landscapes and luminism fell out of style, with Modern Art becoming the premier artistic movement. As his style of art faded, so did his fame, over time Brichers artwork gathered more attention and by the 1980s he began to be credited as one of the nineteenth centurys greatest maritime painters. A self-taught luminist, he explored the effects of light and how it reflected, refracted, and absorbed on landscapes and seascapes. As a lover of life and the sea he purchased a home in the 1890s close to the sea in the New Dorp section of Staten Island where he had views of the Atlantic Ocean and Raritan Bay. He lived and painted at the shore in New Dorp until his death, in Staten Island, New York, aged 71

18.
The Negress
–
The Negress is a bronze sculpture by French artist Jean-Baptiste Carpeaux. It is now in the permanent collection at the Indianapolis Museum of Art, the Negress portrays a woman who is the personification of the continent of Africa. The woman is looking to the side, her figure twisting to the left and her twisting body contributed to the fountains composition. Her features express her strength and her human vulnerability, as she is tied in bondage. Her skin is covered in a patina, enhancing the use of light. The words, Why be born a slave, are inscribed in the base, emphasizing her attachment to her depiction as an enslaved African. The Negress relates to Carpeauxs last monumental sculpture project, Fontaine de lObservatoire, to interpret this theme, Carpeaux elected to use four life-size female figures supporting a globe and representing different races as continents. The Indianapolis bronze is a work for Africa, presented as a bust rather than a full-length figure. A terracotta copy of The Negress is located in the Metropolitan Museum of Art, the Negress was purchased by the Indianapolis Museum of Art in 1980. Fontaine de lObservatoire List of artworks at the Indianapolis Museum of Art

19.
Jean-Baptiste Carpeaux
–
Jean-Baptiste Carpeaux was a French sculptor and painter during the Second Empire under Napoleon III. Born in Valenciennes, Nord, son of a mason, his studies were under François Rude. Carpeaux entered the École des Beaux-Arts in 1844 and won the Prix de Rome in 1854, staying in Rome from 1854 to 1861, he obtained a taste for movement and spontaneity, which he joined with the great principles of baroque art. Carpeaux sought real life subjects in the streets and broke with the classical tradition, Carpeaux debuted at the Salon in 1853 exhibiting La Soumission dAbd-el-Kader alEmperuer, a bas-relief in plaster that did not attract much attention. Carpeaux was an admirer of Napoléon III and followed him from city to city during Napoléons official trip through the north of France, Carpeaux soon grew tired of academicism and became a wanderer on the streets of Rome. He spent free time admiring the frescoes of Michelangelo at the Sistine Chapel, Carpeaux said, When an artist feels pale and cold, he runs to Michelangelo in order to warm himself, as with the rays of the sun. While a student in Rome, Carpeaux submitted a version of Pêcheur napolitain à la coquille. He carved the marble version several years later, showing it in the Salon exhibition of 1863 and it was purchased for Napoleon IIIs empress, Eugénie. The statue of the smiling boy was very popular, and Carpeaux created a number of reproductions and variations in marble. There is a copy, for instance, in the Samuel H. Kress Collection in the National Gallery of Art in Washington, some years later, he carved the Girl with a Shell, a very similar study. In 1861, he made a bust of Princess Mathilde, then in 1866, he established his own atelier in order to reproduce and make work on a grander scale. In 1866, he was awarded the chevalier of the Legion of Honour and he employed his brother as the sales manager and made a calculated effort to produce work that would appeal to a larger audience. On 12 October 1875, he died at the Chateau de Bécon, among his students were Jules Dalou, Jean-Louis Forain and the American sculptor Olin Levi Warner. Carpeaux died at age 48 in Courbevoie, ugolin et ses fils with versions in other museums including the Musée dOrsay, Paris. Partly complete at his death, Carpeaux finished the terrestrial globe with the points represented by the four figures of Asia, Europe. LAmour à la folie, part of a group La danse for the facade of the Opera Garnier A page from insecula

20.
Bronze
–
These additions produce a range of alloys that may be harder than copper alone, or have other useful properties, such as stiffness, ductility, or machinability. The archeological period where bronze was the hardest metal in use is known as the Bronze Age. In the ancient Near East this began with the rise of Sumer in the 4th millennium BC, with India and China starting to use bronze around the same time, everywhere it gradually spread across regions. The Bronze Age was followed by the Iron Age starting from about 1300 BC and reaching most of Eurasia by about 500 BC, the discovery of bronze enabled people to create metal objects which were harder and more durable than previously possible. Bronze tools, weapons, armor, and building such as decorative tiles were harder and more durable than their stone. It was only later that tin was used, becoming the major ingredient of bronze in the late 3rd millennium BC. Tin bronze was superior to arsenic bronze in that the process could be more easily controlled. Also, unlike arsenic, metallic tin and fumes from tin refining are not toxic, the earliest tin-alloy bronze dates to 4500 BCE in a Vinča culture site in Pločnik. Other early examples date to the late 4th millennium BC in Africa, Susa and some ancient sites in China, Luristan, ores of copper and the far rarer tin are not often found together, so serious bronze work has always involved trade. Tin sources and trade in ancient times had a influence on the development of cultures. In Europe, a source of tin was the British deposits of ore in Cornwall. In many parts of the world, large hoards of bronze artefacts are found, suggesting that bronze also represented a store of value, in Europe, large hoards of bronze tools, typically socketed axes, are found, which mostly show no signs of wear. With Chinese ritual bronzes, which are documented in the inscriptions they carry and from other sources and these were made in enormous quantities for elite burials, and also used by the living for ritual offerings. Pure iron is soft, and the process of beating and folding sponge iron to wrought iron removes from the metal carbon. Careful control of the alloying and tempering eventually allowed for wrought iron with properties comparable to modern steel, Bronze was still used during the Iron Age, and has continued in use for many purposes to the modern day. Among other advantages, it does not rust, the weaker wrought iron was found to be sufficiently strong for many uses. Archaeologists suspect that a disruption of the tin trade precipitated the transition. The population migrations around 1200–1100 BC reduced the shipping of tin around the Mediterranean, limiting supplies, there are many different bronze alloys, but typically modern bronze is 88% copper and 12% tin

21.
House in Provence
–
House in Provence is an oil painting by French artist Paul Cézanne. Created in 1885, it is part of the permanent collection in the Indianapolis Museum of Art. With muted tones and soft colors, Cézanne painted a home, accented by the mountains in the background, the soft greens of the rolling hills. Cézannes dynamic style is best observed closely in this painting, the intersect in dynamic way. The brushstrokes create lively movement within the lines that he creates to border the house. House in Provence comes out of Cézannes mature style, where he lived in Provence with his family and this landscape is set on the South side of Mont Sainte-Victoire, which was a favorite subject of the artist. Cézanne did not share the same interests with the rest of the impressionists, house in Provence was probably bought by the artist Ambroise Vollard. In 1910, it was sold to Henri Bernstein and it was likely sold to Gottlieb Reber in 1918. It was sold to Marie Harriman by 1936, in 1945, the piece was purchased by Caroloine Marmon Fesler for the John Herron Art Institute, now the Indianapolis Museum of Art, in memory of Daniel W and Elizabeth C Marmon

22.
Dorothy (Chase)
–
Dorothy is an oil painting by American artist William Merritt Chase. Created in 1902, it is part of the permanent collection in the Indianapolis Museum of Art. The images subject is Chases 11-year-old daughter, Dorothy, wearing a dress with full-length sleeves, a straw hat with a green bow, a black belt, black tights. She is standing against a background without any detail, so the viewers eye is focused only on her. Dorothy stares straight out at the viewer, engaging them, with a 6 canvas, Dorothy is reminiscent of full-length Baroque paintings of emperors, giving the young girl a grandiose image. Chases favorite image to paint was his family, including his wife and his daughters, Dorothy is a painting in a series of full-length portraits Chase created of his family between 1886 and 1902. Chase was the founder of the Chase School, which eventually became Parsons The New School for Design, as a teacher, some of his students include Charles Demuth and Georgia OKeeffe. Dorothy was purchased from the artist at the Exhibition of Indiana Art in Tomlinson Hall, in 1903, using the John Herron fund

23.
William Merritt Chase
–
William Merritt Chase was an American painter, known as an exponent of Impressionism and as a teacher. He is also responsible for establishing the Chase School, which later would become Parsons The New School for Design. William Merritt Chase was born on November 1,1849, in Williamsburg, Indiana, to the family of Sarah Swain and David H. Chase, Chases father moved the family to Indianapolis in 1861, and employed his son as a salesman in the family business. Chase showed an early interest in art, and studied under local, self-taught artists Barton S. Hays, after a brief stint in the Navy, Chases teachers urged him to travel to New York to further his artistic training. In 1870, declining family fortunes forced Chase to leave New York for St. Louis, Missouri, while he worked to help support his family he became active in the St. Louis art community, winning prizes for his paintings at a local exhibition. He also exhibited his first painting at the National Academy in 1871 and he studied under Alexander von Wagner and Karl von Piloty, and befriended American artists Walter Shirlaw, Frank Duveneck, and J Frank Currier. In Munich, Chase employed his rapidly burgeoning talent most often in figurative works that he painted in the loosely brushed style popular with his instructors, home in America, he exhibited his painting Ready for the Ride with the newly formed Society of American Artists in 1878. He also opened a studio in New York in the Tenth Street Studio Building and he was a member of the Tilers, a group of artists and authors, among whom were some of his notable friends, Winslow Homer, Arthur Quartley and Augustus Saint Gaudens. In 1881, friend and artist William Preston Phelps travelled back to Europe to team up with Chase to go on a tour of Italy, Venice. Chase cultivated multiple personae, sophisticated cosmopolitan, devoted family man, Chase married Alice Gerson in 1887 and together they raised eight children during Chases most energetic artistic period. His eldest daughters, Alice Dieudonnee Chase and Dorothy Bremond Chase, in New York City, however, Chase became known for his flamboyance, especially in his dress, his manners, and most of all in his studio. At Tenth Street, Chase had moved into Albert Bierstadts old studio and had decorated it as an extension of his own art, Chase filled the studio with lavish furniture, decorative objects, stuffed birds, oriental carpets, and exotic musical instruments. The studio served as a point for the sophisticated and fashionable members of the New York City art world of the late 19th century. By 1895 the cost of maintaining the studio, in addition to his residences, forced Chase to close it. In addition to his painting, Chase actively developed an interest in teaching, initially he took on private pupils, among his first being Dora Wheeler, a student from 1879 to 1881 who became a professional artist and a lifelong friend. Later, somewhat against his will, he was persuaded to take charge of an art-school at Shinnecock Hills, “ At the instigation of Mrs. William Hoyt, Chase opened the Shinnecock Hills Summer School on eastern Long Island, New York in 1891. Chase adopted the plein air method of painting, and often taught his students in outdoor classes and he also opened the Chase School of Art in 1896, which became the New York School of Art two years later with Chase staying on as instructor until 1907. Along with Robert Henri, who became an instructor, Chase was the most important teacher of American artists around the turn of the 20th century

24.
John Sell Cotman
–
John Sell Cotman was an English marine and landscape painter, etcher, illustrator, author and a leading member of the Norwich school of artists. Cotman was born in Norwich, England, on 16 May 1782, the eldest son of a silk merchant and lace dealer. He showed a talent for art from an age and would often go out on frequent drawing trips into the surrounding countryside. His father intended him to go into the business but instead, intent on a career in art, he moved to London in 1797-8. He came under the patronage of Dr. Thomas Monro, physician to Bridewell and the Bethlehem Hospital, whose house in Adelphi Terrace was a studio and a meeting place for artists. There Cotman made the acquaintance of J. M. W. Turner, Peter de Wint and he joined a sketching club started by Girtin, and went on drawing expeditions to Wales and Surrey. In 1800, aged 18, Cotman exhibited at the Royal Academy for the first time, showing five scenes of Surrey and he probably spent the summers of 1800 and 1801 touring Wales, as he showed Welsh scenes at the academy in 1801 and 1802. In 1800 he was awarded an honorary palette by the Society of Arts and he continued to exhibit at the academy until 1806, and went on several extended drawing trips through England and Wales. In the three summers of 1803–5 he stayed with the Cholmeley family at Brandsby Hall in Yorkshire, on the last of these three visits to Yorkshire, he made a series of watercolours of the River Greta. While based in London, Cotman had spent some time in the city of his birth, in 1811 he became president of the society. In 1809, Cotman married Ann Mills, a daughter from Felbrigg. They were to have five children and his main living came from teaching art and one of his students, the local antiquary Dawson Turner, became a good friend, introducing him to many pupils and collaborating on one of his books. As part of his teaching Cotman operated a kind of library of watercolours. Many of his works bear numbers related to this scheme, in 1811, his first set of etchings was published, all but one of the subjects were architectural, mostly buildings in Yorkshire. He followed this with a set of 60 etchings of ancient buildings in Norfolk, in 1817 he visited Normandy with Dawson Turner, making drawings of buildings, and went there again in 1818 and 1820. Two years later he published a set of 100 etchings based on sketches he made there, after these visits the character of his paintings changed, the later ones being brighter in colour. From 1812 to 1823, Cotman lived on the coast at Great Yarmouth where he studied shipping, some of his finest marine pieces date from this time. He showed work from 1823 to 1825 at the Norwich Society of Artists annual exhibitions, in 1825, Cotman became an Associate of the Royal Society of Painters in Watercolours and was a frequent exhibitor until 1839

25.
Watercolor
–
Watercolor or watercolour, also aquarelle, a diminutive of the Latin for water, is a painting method in which the paints are made of pigments suspended in a water-based solution. Watercolor refers to both the medium and the resulting artwork, the traditional and most common support—material to which the paint is applied—for watercolor paintings is paper. Other supports include papyrus, bark papers, plastics, vellum, leather, fabric, wood, Watercolor paper is often made entirely or partially with cotton, which gives a good texture and minimizes distortion when wet. Watercolors are usually translucent, and appear luminous because the pigments are laid down in a form with few fillers obscuring the pigment colors. Watercolors can also be made opaque by adding Chinese white, in East Asia, watercolor painting with inks is referred to as brush painting or scroll painting. In Chinese, Korean and Japanese painting it has been the dominant medium, india, Ethiopia and other countries have long watercolor painting traditions as well. Fingerpainting with watercolor paints originated in mainland China, however, its continuous history as an art medium begins with the Renaissance. The German Northern Renaissance artist Albrecht Dürer, who painted several fine botanical, wildlife, an important school of watercolor painting in Germany was led by Hans Bol as part of the Dürer Renaissance. Despite this early start, watercolors were used by Baroque easel painters only for sketches, copies or cartoons. Notable early practitioners of watercolor painting were Van Dyck, Claude Lorrain, Giovanni Benedetto Castiglione, however, botanical illustration and wildlife illustration perhaps form the oldest and most important traditions in watercolor painting. Botanical illustrations became popular during the Renaissance, both as hand-tinted woodblock illustrations in books or broadsheets and as tinted ink drawings on vellum or paper. Wildlife illustration reached its peak in the 19th century with such as John James Audubon. Several factors contributed to the spread of watercolor painting during the 18th century, Watercolor artists were commonly brought with the geological or archaeological expeditions, funded by the Society of Dilettanti, to document discoveries in the Mediterranean, Asia, and the New World. This example popularized watercolors as a form of personal tourist journal, the confluence of these cultural, engineering, scientific, tourist, and amateur interests culminated in the celebration and promotion of watercolor as a distinctly English national art. William Blake published several books of hand-tinted engraved poetry, provided illustrations to Dantes Inferno, from the late 18th century through the 19th century, the market for printed books and domestic art contributed substantially to the growth of the medium. Satirical broadsides by Thomas Rowlandson, many published by Rudolph Ackermann, were extremely popular. Among the important and highly talented contemporaries of Turner and Girtin, were John Varley, John Sell Cotman, Anthony Copley Fielding, Samuel Palmer, William Havell, the Swiss painter Louis Ducros was also widely known for his large format, romantic paintings in watercolor. These societies provided annual exhibitions and buyer referrals for many artists, in particular, the graceful, lapidary, and atmospheric watercolors by Richard Parkes Bonington created an international fad for watercolor painting, especially in England and France in the 1820s

26.
Gum arabic
–
Gum arabic, also known as acacia gum, is a natural gum consisting of the hardened sap of various species of the acacia tree. Producers harvest the gum commercially from wild trees, mostly in Sudan and throughout the Sahel, from Senegal to Somalia—though it is cultivated in Arabia. Gum arabic is a mixture of glycoproteins and polysaccharides. It is the source of the sugars arabinose and ribose. Gum arabic is used primarily in the industry as a stabilizer. It is edible and has E number E414, while gum arabic is now produced throughout the African Sahel, it is still harvested and used in the Middle East. For example, Arab populations use the gum to make a chilled, sweetened. Gum arabics mixture of polysaccharides and glycoproteins gives it the properties of a glue, other substances have replaced it where toxicity is not an issue, and as the proportions of the various chemicals in gum arabic vary widely and make it unpredictable. Still, it remains an important ingredient in soft drink syrup, hard gummy candies such as gumdrops, marshmallows, for artists, it is the traditional binder in watercolor paint, in photography for gum printing, and it is used as a binder in pyrotechnic compositions. Pharmaceutical drugs and cosmetics also use the gum as a binder, emulsifying agent, wine makers have used gum arabic as a wine fining agent. It is an important ingredient in shoe polish, and can be used in making homemade incense cones and it is also used as a lickable adhesive, for example on postage stamps, envelopes, and cigarette papers. Lithographic printers employ it to keep the areas of the plate receptive to water. This treatment also helps to stop oxidation of aluminium printing plates in the interval between processing of the plate and its use on a printing press. Also called acacia after the source, gum arabic is used as an emulsifier. Gum arabic is used as a binder for watercolor painting because it easily in water. Pigment of any color is suspended within the gum in varying amounts. Water acts as a vehicle or a diluent to thin the watercolor paint, when all moisture evaporates, the acacia gum typically does not bind the pigment to the paper surface, but is totally absorbed by deeper layers. If little water is used, after evaporation the acacia gum functions as a binder in a paint film, increasing luminosity

27.
The Crucifixion (Cranach)
–
Crucifixion is an oil painting by German artist Lucas Cranach the Elder. One of many versions of the subject painted by Cranach, this one, the bottom half of the painting is crowded with figures, all symbolically arranged to the left and the right of Christ. On the right is the Virgin Mary, who is held by John the Evangelist, the Good Thief and Longinus gaze directly at him, alluding to their salvation. There is a sharp contrast to those on the right, which includes Roman soldiers who are avoiding his gaze, behind them are contemporary figures, who are considered unenlightened, as they have not yet borne witness to Christ. Cranach was the painter to the electors of Saxony in Wittenberg. His patrons were powerful supporters of Martin Luther, and Cranach used his art as a symbol of the new faith, Cranach made numerous portraits of Luther, and provided woodcut illustrations for Luthers German translation of the Bible. Crucifixion should be seen through the lens of this new reformed religion, the Indianapolis Museum of Art purchased the painting in 2000, using funding from the Clowes Collection. The provenance of Crucifixion is ambiguous, and the Indianapolis Museum of Art is attempting to learn where the painting originated

28.
Lucas Cranach the Elder
–
Lucas Cranach the Elder was a German Renaissance painter and printmaker in woodcut and engraving. He also painted religious subjects, first in the Catholic tradition and he continued throughout his career to paint nude subjects drawn from mythology and religion. He had a workshop and many works exist in different versions, his son Lucas Cranach the Younger. Lucas Cranach the Elder has been considered the most successful German artist of his time and he was born at Kronach in upper Franconia, probably in 1472. His exact date of birth is unknown and he learned the art of drawing from his father Hans Maler. His mother, with surname Hübner, died in 1491, later, the name of his birthplace was used for his surname, another custom of the times. How Cranach was trained is not known, but it was probably with local south German masters, as with his contemporary Matthias Grünewald, there are also suggestions that Cranach spent some time in Vienna around 1500. According to Gunderam Cranach demonstrated his talents as a painter before the close of the 15th century and his work then drew the attention of Duke Friedrich III, Elector of Saxony, known as Frederick the Wise, who attached Cranach to his court in 1504. Cranach was to remain in the service of the Elector and his successors for the rest of his life, Cranach married Barbara Brengbier, the daughter of a burgher of Gotha and also born there, she died at Wittenberg on 26 December 1540. Cranach later owned a house at Gotha, but most likely he got to know Barbara near Wittenberg, where her family owned a house. The first evidence of Cranachs skill as an artist comes in a picture dated 1504, in 1509 Cranach went to the Netherlands, and painted the Emperor Maximilian and the boy who afterwards became Emperor Charles V. Until 1508 Cranach signed his works with his initials, in that year the elector gave him the winged snake as an emblem, or Kleinod, which superseded the initials on his pictures after that date. Cranach was the painter to the electors of Saxony in Wittenberg. His patrons were powerful supporters of Martin Luther, and Cranach used his art as a symbol of the new faith, Cranach made numerous portraits of Luther, and provided woodcut illustrations for Luthers German translation of the Bible. Somewhat later the duke conferred on him the monopoly of the sale of medicines at Wittenberg, Cranachs presses were used by Martin Luther. His apothecary shop was open for centuries, and was only lost by fire in 1871, Cranach, like his patron, was friendly with the Protestant Reformers at a very early stage, yet it is difficult to fix the time of his first meeting with Martin Luther. The oldest reference to Cranach in Luthers correspondence dates from 1520, in a letter written from Worms in 1521, Luther calls him his gossip, warmly alluding to his Gevatterin, the artists wife. He was also godfather to their first child, Johannes Hans Luther, in 1530 Luther lived at the citadel of Veste Coburg under the protection of the Duke of Saxe-Coburg and his room is preserved there along with a painting of him

29.
Panel painting
–
A panel painting is a painting made on a flat panel made of wood, either a single piece, or a number of pieces joined together. Panel painting is very old, it was a very prestigious medium in Greece and Rome, a series of 6th century BC painted tablets from Pitsa represent the oldest surviving Greek panel paintings. Most classical Greek paintings that were famous in their day seem to have been of a size comparable to modern works - perhaps up to a half-length portrait size. We can only attempt to imagine what these looked like from some detailed literary descriptions, the Severan Tondo, also from Egypt is one of the handful of non-funerary Graeco-Roman specimens to survive. Encaustic and tempera are the two used in antiquity. Encaustic largely ceased to be used after the early Byzantine icons, the earliest forms of panel painting were dossals, altar fronts and crucifixes. All were painted with images, commonly the Christ or the Virgin, with the saints appropriate to the dedication of the church. Donor portraits including members of the family are also often shown. Painted panels for altars are most numerous in Spain, especially Catalonia, the 13th and 14th centuries in Italy were a great period of panel painting, mostly altarpieces or other religious works. However, it is estimated that of all the paintings produced there,99.9 percent have been lost. The vast majority of Early Netherlandish paintings are on panel, and these include most of the earliest portraits, such as those by Jan van Eyck, and some other secular scenes. However, one of the earliest surviving oils on canvas is a French Madonna with angels of about 1410 in the Gemäldegalerie, Berlin, which is very early indeed for oil painting also. By the 15th century with the wealth of Europe, and later the appearance of humanism. Secular art opened the way to the creation of chests, painted beds, birth trays, many such works are now detached and hung framed on walls in museums. Many double-sided wings of altarpieces have also been sawn into two one-sided panels, canvas took over from panel in Italy by the first half of the 16th century, a change led by Mantegna and the artists of Venice. His panels are of notoriously complicated construction, containing as many as seventeen pieces of wood, for smaller cabinet paintings, copper sheets were another rival support, from the end of the 16th century, used by many artists including Adam Elsheimer. Many Dutch painters of the Golden Age used panel for their small works, by the 18th century it had become unusual to paint on panel, except for small works to be inset into furniture, and the like. But, for example, The National Gallery in London has two Goya portraits on panel, many other painting traditions also painted, and still paint, on wood, but the term is usually only used to refer to the Western tradition described above

30.
Chinese Souls
–
Chinese Souls #2 is a quilt by American artist Nancy Crow, located at the Indianapolis Museum of Art, in Indianapolis, Indiana, United States. It was created in 1992 as part of a series of memorial quilts she began in response to an atrocity she witnessed in China in 1990, Chinese Souls #2 is made of resist-dyed fabric which has been embroidered, machine-pieced, and quilted. The dying process created the circular patterns and rich array of hues, the spiraling embroidery adds energy to the composition. This combination of colors, striking patterns, and social commentary is typical of Crows work. Crow performed the initial dying of the fabric, which was then resist-dyed by Lunn Fabrics, Crow cut and pieced the quilt alone in her studio, still hearing the cries of the condemned. She then embroidered the quilt with the help of Marla Hattabaugh, Suzanne Keller, Hattabaugh performed the hand-quilting according to the pattern created by Crow. According to the artist, Chinese Souls quilts are my memorial to more than 60 teenage boys who were bound, I witnessed this horrible incident when I was an exchange artist in China in September 1990. The boys were all wrapped with heavy ropes, in these quilts, the circles represent their souls and the bull’s-eye embroidery and the hand-quilting represents the ropes tied around their souls. The colors of the circles represent the individuals, I have always felt there is an eerie energy that radiates out from the surface of each of these quilts. When she returned to the United States, she produced a series of ten quilts based on the same theme. The artwork was sold by Nancy Crow to the Indianapolis Museum of Art in 1996, Nancy Crow is a renowned practitioner of quilt art. Born in 1943 in Loudonville, Ohio, she earned her MFA in ceramics and she began creating art quilts in 1976 and co-founded Quilt National in 1979, establishing herself as one of the most influential players in the world of quilt art. In 1990, the year of the incident that sparked this quilts creation, she began to focus on creating quilts in an emotional, fluid manner, rather than the more traditional, template-driven style. Wielding her cutting tool freehand like a paintbrush allowed her spontaneity and complete emotional engagement with the quilt

31.
Resist dyeing
–
Resist dyeing is a term for a number of traditional methods of dyeing textiles with patterns. Methods are used to resist or prevent the dye from reaching all the cloth, thereby creating a pattern, the most common forms use wax, some type of paste made from starch or mud, or a mechanical resist that manipulates the cloth such as tying or stitching. Another form of resist involves using an agent in a specific type of dye that will repel another type of dye printed over the top. The best-known varieties today include tie-dye and batik, wax or paste, melted wax or some form of paste is applied to cloth before being dipped in dye. Wherever the wax has seeped through the fabric, the dye will not penetrate, sometimes several colors are used, with a series of dyeing, drying and waxing steps. The wax may also be applied to another piece of cloth to make a stencil, which is placed over the cloth, and dye applied to the assembly. Paper stencils may also be used, another type of resist printing, the same method is used in art in printmaking, in one form of screenprinting. Mechanical, the cloth is tied, stitched, or clamped using clothespegs or wooden blocks to areas of the fabric. Chemical, a textile printing method, commonly achieved using two different classes of fiber reactive dyes, one of which must be of the vinyl sulfone type. A chemical-resisting agent is combined with dye Type A, and printed using the screenprint method, a second dye, Type B, is then printed overtop. The resist agent in Type A chemically prevents Type B from reacting with the fabric, resist dyeing has been very widely used in Eurasia and Africa since ancient times. The first discoveries of pieces of linen was from Egypt and date from the fourth century, cloth, used for mummy wrappings, was coated with wax, scratched with a sharp stylus, and dyed with a mixture of blood and ashes. After dyeing the cloth was washed in hot water to remove the wax, in Asia, this technique was practiced in China during the Tang dynasty, in India and Japan in the Nara period. In Africa it was practiced by the Yoruba tribe in Nigeria, Soninke. Indonesia and Malaysia - Ikat, where only the warp or weft is dyed, India Africa - Adire Modern West - Tie-dye Japan - Shibori Japan- Katagami and Bingata with stencils China - about 500 AD the jia xie method for dyeing using wood blocks was invented. An upper and a block is made, with carved out compartments opening to the back. The cloth, usually folded a number of times, is inserted and clamped between the two blocks, by unplugging the different compartments and filling them with dyes of different colours, a multi-coloured pattern can be printed over quite a large area of folded cloth. Ukraine, Russia and Poland - Pysanka, with wax for eggs at Easter Woodblock printing Byzantine dress

32.
Fabric
–
A textile or cloth is a flexible material consisting of a network of natural or artificial fibres. Yarn is produced by spinning raw fibres of wool, flax, cotton, hemp, Textiles are formed by weaving, knitting, crocheting, knotting, or felting. The words fabric and cloth are used in textile assembly trades as synonyms for textile, however, there are subtle differences in these terms in specialized usage. Textile refers to any material made of interlacing fibres, a fabric is a material made through weaving, knitting, spreading, crocheting, or bonding that may be used in production of further goods. Cloth may be used synonymously with fabric but is often a piece of fabric used for a specific purpose. The word textile is from Latin, from the adjective textilis, meaning woven, from textus, the word cloth derives from the Old English clað, meaning a cloth, woven or felted material to wrap around one, from Proto-Germanic kalithaz. The discovery of dyed flax fibres in a cave in the Republic of Georgia dated to 34,000 BCE suggests textile-like materials were made even in prehistoric times. The production of textiles is a craft whose speed and scale of production has been altered almost beyond recognition by industrialization, however, for the main types of textiles, plain weave, twill, or satin weave, there is little difference between the ancient and modern methods. Textiles have an assortment of uses, the most common of which are for clothing and for such as bags. In the household they are used in carpeting, upholstered furnishings, window shades, towels, coverings for tables, beds, and other flat surfaces, in the workplace they are used in industrial and scientific processes such as filtering. Textiles are used in traditional crafts such as sewing, quilting. Textiles for industrial purposes, and chosen for other than their appearance, are commonly referred to as technical textiles. Technical textiles include textile structures for applications, medical textiles, geotextiles, agrotextiles. In all these applications stringent performance requirements must be met, woven of threads coated with zinc oxide nanowires, laboratory fabric has been shown capable of self-powering nanosystems using vibrations created by everyday actions like wind or body movements. Fashion designers commonly rely on textile designs to set their fashion collections apart from others, armani, the late Gianni Versace, and Emilio Pucci can be easily recognized by their signature print driven designs. Textiles can be made from many materials and these materials come from four main sources, animal, plant, mineral, and synthetic. In the past, all textiles were made from natural fibres, including plant, animal, in the 20th century, these were supplemented by artificial fibres made from petroleum. Textiles are made in various strengths and degrees of durability, from the finest gossamer to the sturdiest canvas, microfibre refers to fibres made of strands thinner than one denier

33.
The Valkhof at Nijmegen
–
The Valkhof at Nijmegen is an oil painting by Dutch artist Aelbert Cuyp, likely painted between 1652 and 1654, during the Dutch Golden Age. It is currently part of the permanent collection in the Indianapolis Museum of Art, the Valkhof at Nijmegen typifies the Dutch landscape. A small boat filled with fisherman wait to capture lobsters, two fat cows sit at the bank of the river, with their herder and two guests. The herders red jacket is the point, drawing the eye in. Across the river, the looming Medieval architecture is bathed in a golden light from the seemingly setting sun. Boats float peacefully down the banks, not disturbing the water. A windmill pokes up from the cliff face, small, chunky clouds hover peacefully over the bay. Overall, the feelings of peace and tranquility run through the painting, with the stillness of the cattle, people, the town of Nijmegen was popular with artists during this time period. The citys Medieval history, with the Valkhof having strong patriotic ties and it was the stronghold of Gaius Julius Civilis, an ancient hero who led the Batavians to revolt against the Romans during the 1st-century. During this time, it paralleled the Dutchs rebellion against Spain. The scene is based on sketches that Cuyp took during this travels to Nijmegen in 1652, however, Cuyp transformed the landscape by using a warm glow and he adopted this style, and it became his signature on his paintings. Later on, Cuyps work has an impact on 19th-century landscape painters. Because of the way that Cuyp painted his subjects bathed in light, it is hypothesized that he worked in Utrecht, Cuyp dated very few of his paintings, so the date range on this image is an estimate. The paintings oldest provenance history has it in the hands of the Dukes of Saxe-Coburg-Gotha and it was sold in April 1937 to art historian/dealer Eduard Plietzsch. It was sold by the Galarie St. Lucas in Vienna in July of that year, the Valkhof became part of the John Herron Art Institute, now the Indianapolis Museum of Art in 1943, after a gift by Caroline Marmon Fesler

34.
Aelbert Cuyp
–
Aelbert Jacobsz Cuyp was one of the leading Dutch landscape painters of the Dutch Golden Age in the 17th century. The most famous of a family of painters, the pupil of his father Jacob Gerritsz Cuyp, Aelbert Cuyp was born in Dordrecht on October 20,1620, and also died there on November 15,1691. Known as the Dutch equivalent of Claude Lorrain, this landscape artist went on to inherit a considerable fortune and his family were all artists, with his uncle Benjamin and grandfather Gerrit being stained glass cartoon designers. Jacob Gerritsz Cuyp, his father, was a portraitist, the amount of biographical information regarding Aelbert Cuyp is tremendously limited. Even Arnold Houbraken, a historian of Dutch Golden Age paintings. The year after his marriage Cuyp became the deacon of the reformed church, even Houbraken recalled that Cuyp was a devout Calvinist and the fact that when he died, there were no paintings of other artists found in his home. Generally, Cuyp learned tone from the exceptionally prolific Jan van Goyen, light from Jan Both and form from his father, Cuyps van Goyen phase can be placed approximately in the early 1640s. Cuyp probably first encountered a painting by van Goyen in 1640 when van Goyen was, as Stephen Reiss points out at the height of powers. Cuyp took from van Goyen the straw yellow and light brown tones that are so apparent in his Dunes and this technique, a precursor to impressionism, is noted for the short brush strokes where the colors are not necessarily blended smoothly. In the mid-1640s Both, a native and resident of Utrecht, had just returned to his hometown from a trip to Rome and it is around this same time that Cuyps style changed fundamentally. In Rome, Both had developed a new style of composition due, at least in part and this new style was focused on changing the direction of light in the painting. Instead of the light being placed at angles in relation to the line of vision. In this new form of lighting, the artist faced the sun more or less contre-jour, Both, and subsequently Cuyp, used the advantages of this new lighting style to alter the sense of depth and luminosity possible in a painting. To make notice of new capabilities, much use was made of elongated shadows. Cuyps third stylistic phase is based on the influence of his father, as has been mentioned and as will be explained in depth below, there are pieces where Aelbert provided the landscape background for his fathers portraits. The evidence for Aelberts evolution to foreground figure painter is in the production of paintings from 1645-50 featuring foreground animals that do not fit with Jacobs style. Adding to the confusion that is, Aelberts stylistic development and the problem of attribution is of course the fact that Jacobs style was not stagnant either, sunlight in his paintings rakes across the panel, accentuating small bits of detail in the golden light. The richly varnished medium refracts the rays of light like a jewel as it dissolves into numerous glazed layers, Cuyps landscapes were based on reality and on his own invention of what an enchanting landscape should be

35.
Young Woman in Blue
–
Young Woman in Blue is a drawing by French artist Edgar Degas, created in 1884. It is currently in the permanent collection at the Indianapolis Museum of Art, the subject appears to be a young saleswoman, observed in a Parisian hat shop. She is seen from above and behind, and her back is straitlaced and her hair is tied in a tight bun at the base of her skull, and her straight bangs are over her eyes. Her jacket is a blue and is the focal point of the drawing. She looks impatient, her arms crossed and her nose up in the air, according to Mary Cassatt, Degas protégée and friend, Degas often asked her to pose for him after going with her to the dressmakers or the milliners. He often asked her to assume a role or a stance he saw while out with her and this separated Degas from the other Impressionists of the time, as working in a studio is decidedly not spontaneous. His focus on the figure was also not following the Impressionist school. Degas also desired to revive the pastel as an art form, young Woman in Blue was sold at Degas estate sale, part 2, in December 1918, after the artists death. It was purchased by the Galerie Georges Petit, in Tabelaux and it was purchased by the Indianapolis Museum of Art in 1938, using the Delavan Smith Fund

36.
Edgar Degas
–
Edgar Degas was a French artist famous for his paintings, sculptures, prints, and drawings. He is especially identified with the subject of dance, more than half of his works depict dancers and he is regarded as one of the founders of Impressionism, although he rejected the term, preferring to be called a realist. He was a draftsman, and particularly masterly in depicting movement, as can be seen in his rendition of dancers, racecourse subjects. His portraits are notable for their complexity and for their portrayal of human isolation. At the beginning of his career, Degas wanted to be a history painter, in his early thirties, he changed course, and by bringing the traditional methods of a history painter to bear on contemporary subject matter, he became a classical painter of modern life. Degas was born in Paris, France, into a wealthy family. He was the oldest of five children of Célestine Musson De Gas, a Creole from New Orleans, Louisiana, and Augustin De Gas and his maternal grandfather Germain Musson, was born in Port-au-Prince, Haiti of French descent and had settled in New Orleans in 1810. Degas began his schooling at age eleven, enrolling in the Lycée Louis-le-Grand and his mother died when he was thirteen, and his father and grandfather became the main influences on him for the remainder of his youth. Degas began to paint early in life, by the time he graduated from the Lycée with a baccalauréat in literature in 1853, at age 18, he had turned a room in his home into an artists studio. Upon graduating, he registered as a copyist in The Louvre Museum, Degas duly enrolled at the Faculty of Law of the University of Paris in November 1853, but applied little effort to his studies. In April of that year Degas was admitted to the École des Beaux-Arts and he studied drawing there with Louis Lamothe, under whose guidance he flourished, following the style of Ingres. In July 1856, Degas traveled to Italy, where he would remain for the three years. In 1858, while staying with his aunts family in Naples and he also began work on several history paintings, Alexander and Bucephalus and The Daughter of Jephthah in 1859–60, Sémiramis Building Babylon in 1860, and Young Spartans around 1860. In 1861 Degas visited his childhood friend Paul Valpinçon in Normandy and he exhibited at the Salon for the first time in 1865, when the jury accepted his painting Scene of War in the Middle Ages, which attracted little attention. The change in his art was influenced primarily by the example of Édouard Manet, upon the outbreak of the Franco-Prussian War in 1870, Degas enlisted in the National Guard, where his defense of Paris left him little time for painting. During rifle training his eyesight was found to be defective, after the war, Degas began in 1872 an extended stay in New Orleans, Louisiana, where his brother René and a number of other relatives lived. Staying at the home of his Creole uncle, Michel Musson, on Esplanade Avenue, Degas produced a number of works, many depicting family members. One of Degass New Orleans works, A Cotton Office in New Orleans, garnered favorable attention back in France, Degas returned to Paris in 1873 and his father died the following year, whereupon Degas learned that his brother René had amassed enormous business debts

37.
Pastel
–
A pastel is an art medium in the form of a stick, consisting of pure powdered pigment and a binder. The pigments used in pastels are the same as used to produce all colored art media, including oil paints. The color effect of pastels is closer to the natural dry pigments than that of any other process, Pastels have been used by artists since the Renaissance, and gained considerable popularity in the 18th century, when a number of notable artists made pastel their primary medium. An artwork made using pastels is called a pastel, Pastel used as a verb means to produce an artwork with pastels, as an adjective it means pale in color. Pastel sticks or crayons consist of powdered pigment combined with a binder. The exact composition and characteristics of an individual pastel stick depends on the type of pastel and it also varies by individual manufacturer. Dry pastels have historically used binders such as gum arabic and gum tragacanth, methyl cellulose was introduced as a binder in the twentieth century. Often a chalk or gypsum component is present and they are available in varying degrees of hardness, the softer varieties being wrapped in paper. Some pastel brands use pumice in the binder to abrade the paper, dry pastel media can be subdivided as follows, Soft pastels, This is the most widely used form of pastel. The sticks have a portion of pigment and less binder. The drawing can be readily smudged and blended, but it results in a proportion of dust. White chalk may be used as a filler in producing pale, Pan Pastels, These are formulated with a minimum of binder in flat compacts and applied with special Soft micropore sponge tools. A 21st-century invention, Pan Pastels can be used for the painting or in combination with soft. Hard pastels, These have a portion of binder and less pigment. These can be used with other pastels for drawing outlines and adding accents, hard pastels are traditionally used to create the preliminary sketching out of a composition. However, the colors are brilliant and are available in a restricted range in contrast to soft pastels. Pastel pencils, These are pencils with a pastel lead and they are useful for adding fine details. In addition, pastels using a different approach to manufacture have been developed, Oil pastels, These have a soft, buttery consistency and they are dense and fill the grain of paper and are slightly more difficult to blend than soft pastels, but do not require a fixative

38.
Christian Dior
–
Christian Dior was a French fashion designer, best known as the founder of one of the worlds top fashion houses, also called Christian Dior, which is now owned by Groupe Arnault. Christian Dior was born in Granville, a town on the coast of Normandy. He was the second of five born to Maurice Dior, a wealthy fertilizer manufacturer. He had four siblings, Raymond, Jacqueline, Bernard, when Christian was about five years old, the family moved to Paris, but still returned to the Normandy coast for summer holidays. Diors family had hoped he would become a diplomat, but Dior was artistic, to make money, he sold his fashion sketches outside his house for about 10 cents each. In 1928, Dior left school and received money from his father to finance a small art gallery, where he, from 1937, Dior was employed by the fashion designer Robert Piguet, who gave him the opportunity to design for three Piguet collections. Dior would later say that Robert Piguet taught me the virtues of simplicity through which true elegance must come, one of his original designs for Piguet, a day dress with a short, full skirt called Cafe Anglais, was particularly well received. Whilst at Piguet, Dior worked alongside Pierre Balmain, and was succeeded as house designer by Marc Bohan – who would, in 1960, Dior left Piguet when he was called up for military service. In 1942, when Dior left the army, he joined the house of Lucien Lelong. In 1946 Marcel Boussac, an entrepreneur known as the richest man in France, invited Dior to design for Philippe et Gaston. Dior refused, wishing to make a fresh start under his own rather than reviving an old brand. On 8 December 1946, with Boussacs backing, Dior founded his fashion house. The actual name of the line of his first collection, presented on 12 February 1947, was Corolle, but the phrase New Look was coined for it by Carmel Snow, the editor-in-chief of Harpers Bazaar. Diors designs were more voluptuous than the boxy, fabric-conserving shapes of the recent World War II styles and he was a master at creating shapes and silhouettes, Dior is quoted as saying I have designed flower women. Initially, women protested because his designs covered up their legs, there was also some backlash to Diors designs due to the amount of fabrics used in a single dress or suit. During one photo shoot in a Paris market, the models were attacked by female vendors over this profligacy, the New Look revolutionized womens dress and reestablished Paris as the centre of the fashion world after World War II. Christian Dior died while on holiday in Montecatini, Italy on 24 October 1957, some reports say that he died of a heart attack after choking on a fish bone. Times obituary stated that he died of an attack after playing a game of cards

39.
Chiffon (fabric)
–
Chiffon is a lightweight, balanced plain-woven sheer fabric woven of alternate S- and Z-twist crepe yarns. The twist in the crepe yarns puckers the fabric slightly in both directions after weaving, giving it some stretch and a rough feel. Early chiffon was made purely from silk, in 1938, however, a nylon version of chiffon was invented, and in 1958 polyester chiffon was invented and became immensely popular due to its resilience and low cost. Under a magnifying glass chiffon resembles a net or mesh which gives it some transparency. Chiffon is most commonly used in evening wear, especially as an overlay, for giving an elegant and it is also a popular fabric used in blouses, ribbons, scarves and lingerie. Like other crêpe fabrics, chiffon can be difficult to work with because of its light, due to this delicate nature, chiffon must be hand washed very gently. Since chiffon is a fabric that frays very easily, bound or French seams must be used to stop the fabric from fraying. Chiffon is smoother and more lustrous than the similar fabric georgette

40.
Reflections (Dove)
–
Reflections is an abstract oil on canvas painting by American artist Arthur Dove from 1935, currently located at the Indianapolis Museum of Art, which is in Indianapolis, Indiana, US. Reflections is a highly representative Dove piece, an abstract landscape with trees under a prominent sun. The whimsy, organic elements, and prominent sun and moon are all themes of his work. Although at first glance a straightforward landscape, Dove once referred to it as Reflections, in 1910, Dove became the first American to paint an abstract work. His bold, emotional paintings earned him membership in the Stieglitz Group, in 1933, he moved to Geneva, New York, to live on his family estate. Though unhappy with the provincial character, he remained for five years. Reflections was created squarely in the middle of his Geneva period, Dove first sold Reflections to his long-time friend and patron Alfred Stieglitz in New York. It was then added to the collection of the Downtown Gallery in New York before being acquired by Mr. and Mrs. Denman of Bellevue, Washington. The work then shuttled through private and corporate collections before returning to New York and it is currently housed in the Paine American Modernism Gallery. Reflections was purchased in 2003 from the Alexandre Gallery courtesy of the Caroline Marmon Fesler Fund

41.
Arthur Garfield Dove
–
Arthur Garfield Dove was an American artist. An early American modernist, he is considered the first American abstract painter. Dove used a range of media, sometimes in unconventional combinations, to produce his abstractions. Me and the Moon from 1937 is an example of an Arthur Dove abstract landscape and has been referred to as one of the culminating works of his career. Dove did a series of experimental works in the 1920s. Dove was born to a family in Canandaigua, New York. His parents, William George and Anna Elizabeth, were of English ancestry, Arthur Dove grew up loving the outdoors on a farm, however, his father was a very successful businessman who owned a brickyard and expected his son to become wealthy. Doves childhood interests included playing the piano, painting lessons, as a child, he was befriended by a neighbor, Newton Weatherby, a naturalist who helped form Doves appreciation of nature. Weatherby was also a painter who gave Dove pieces of leftover canvas to work with. Dove attended Hobart College and Cornell University, and graduated from Cornell in 1903, Dove was chosen to illustrate the Cornell University yearbook. Doves illustrations proved popular because they brought life to the characters, after graduation, he became a well known commercial illustrator in New York City, working for Harpers Magazine and The Saturday Evening Post. In 1907, Dove and his first wife, Florence, traveled to France and moved to Paris and they made short trips to both Italy and Spain. While there, Dove joined a group of artists from the United States. Dove and Maurer remained friends until Maurers suicide in 1932, while in Europe, Dove was introduced to new painting styles, in particular the Fauvist works of Henri Matisse, and he exhibited at the annual Autumn Salon in 1908 and 1909. Feeling a clearer sense as an artist, he returned to New York and his return to commercial illustration was unsatisfying, so Dove moved out of New York to make a living off farming and fishing while devoting the rest of his time to painting. Dove, was born on July 4,1909, when Dove returned to America in 1909 he met Alfred Stieglitz, probably by way of Maurers written introduction. Stieglitz was a known photographer and gallery owner who was very active in promoting modern art in America. Dove decided to quit working as an illustrator but was in need of artistic identity along with emotional bolstering, the photographer was 16 years older than Dove and his urban, Jewish and European cultural roots were in contrast to Doves rural Anglo-Saxon Protestant heritage

42.
Courre Merlan (Whiting Chase)
–
Courre Merlan is an oil painting by French artist Jean Dubuffet. It has been part of the permanent collection of the Indianapolis Museum of Art since 1992 and it consists of a large free-form shape that nearly fills the canvas and is placed on a dark, textured background. This large shape contains smaller, neatly outlined, puzzle-like shapes, most of which are white, the main colors in the work are limited to red, white, blue, and black. These features are all characteristic of Dubuffets style at the time, although the shapes are abstracted, a boat or ship and fishermen can be seen, and the title suggests they are fishing for whiting. In contrast with the image, the background is dark. Throughout his career, Dubuffet created his works as parts of distinct, courre Merlan was a part of his Hourloupe cycle, which was the longest-running series, from July 1962 to 1974. Paintings in the Hourloupe are marked by flattened shapes, delineated with dark or black outlines, Dubuffet was initially inspired by ballpoint pen doodles he created while talking on the telephone. He believed this style reflected the way objects are seen in the mind, in the Hourloupe series, Dubuffet also veered into three-dimensional sculptures and installations. The Hourloupe cycle, and this work, also reflect Dubuffet’s affinity for “art brut”—art produced by children, psychiatric patients, in addition, although Dubuffet did not consider himself a Surrealist, he was influenced by the surrealist interest in the unconscious. Dubuffet believed that art addressed itself to the mind and not the physical world, Dubuffet argued that individuals could create their own versions of reality. Courre Merlan at the IMA LHourloupe at the Dubuffet Foundation LHourloupe at WikiPaintings

43.
Jean Dubuffet
–
Jean Philippe Arthur Dubuffet was a French painter and sculptor. He is perhaps best known for founding the art movement Art Brut, Dubuffet enjoyed a prolific art career, both in France and in America, and was featured in many exhibitions throughout his lifetime. Dubuffet was born in Le Havre to a family of wine merchants who were part of the wealthy bourgeoisie. He moved to Paris in 1918 to study painting at the Académie Julian, becoming friends with the artists Juan Gris, André Masson. Six months later, upon finding academic training to be distasteful, during this time, Dubuffet developed many other interests, including music, poetry, and the study of ancient and modern languages. Dubuffet also traveled to Italy and Brazil, and upon returning to Le Havre in 1925, he married for the first time and he took up painting again in 1934 when he made a large series of portraits in which he emphasized the vogues in art history. But again he stopped, developing his business at Bercy during the German Occupation of France. Years later, in a text, he boasted about having made substantial profits by supplying wine to the Wehrmacht. In 1942, Dubuffet decided to devote himself again to art and he often chose subjects for his works from everyday life, such as people sitting in the Paris Métro or walking in the country. Dubuffet painted with strong, unbroken colors, recalling the palette of Fauvism, as well as the Brucke painters, with their juxtaposing, many of his works featured an individual or individuals placed in a very cramped space, which had a distinct psychological impact on viewers. His first solo show came in October 1944, at the Galerie Rene Drouin in Paris and this marked Dubuffets third attempt to become an established artist. In 1945, Dubuffet attended and was impressed by a show in Paris of Jean Fautriers paintings in which he recognized meaningful art which expressed directly and purely the depth of a person. Emulating Fautrier, Dubuffet started to use oil paint mixed with materials such as mud, sand, coal dust, pebbles, pieces of glass, string, straw, plaster, gravel, cement. His use of materials and the irony that he infused into many of his works incited a significant amount of backlash from critics. Greenberg went on to say that Dubuffet is perhaps the one new painter of importance to have appeared on the scene in Paris in the last decade. Indeed, Dubuffet was very prolific in the United States in the following his first exhibition in New York. After 1946, Dubuffet started a series of portraits, with his own friends Henri Michaux, Francis Ponge, Jean Paulhan and he painted these portraits in the same thick materials, and in a manner deliberately anti-psychological and anti-personal, as Dubuffet expressed himself. A few years later he approached the surrealist group in 1948, in 1944 he started an important relationship with the resistance-fighter and French writer, publisher, Jean Paulhan who was also strongly fighting against intellectual terrorism, as he called it

44.
The Holy Family with the Dragonfly
–
It is quite small but full of intricate detail. A very popular image, subject to infringement within five years of creation, it appears in collections, including the Indianapolis Museum of Art and the UK Royal Collection. The Holy Family with the Dragonfly, alternately known as The Holy Family with the Butterfly, The Holy Family with the Locust, in the lower right corner is an insect frequently identified as a dragonfly. However, Dürer may have intended it as a butterfly, a creature whose dramatically transformative life-cycle makes it a symbol of resurrection and redemption. The abundance of beautifully-rendered textures in the richly detailed landscape show how early Dürer mastered the art of engraving, the exact date of creation is not known. It may have been a piece from his apprenticeship, a copy of older master such as Martin Schongauer. The precise shape of Dürers monogram is most similar to works dated 1494-95, and it is the first print on which he placed his monogram, and the only one in which the D is lowercase. By placing his mark on it, he claimed authorship of the work and this act of ownership offered no protection, however, since his international renown as an artistic genius meant copies appeared throughout Italy and Germany by 1500. In Dürers Germany, Mary and Jesus were grounded and human and that meant tender scenes such as this were extremely popular. Dürer made many prints of this theme to be sold in shops, the type of insect that Dürer depicted is unclear. While it is named as a dragonfly, Kate Heard. Dürer to Holbein suggest that he may have meant it to be read as a butterfly and they explain that the butterflys familiar transformation from caterpillar to winged adult was a symbol of resurrection and the souls redemption, referring to the infant Christ in the Virgins arms. The painting is indeed sometimes also called the Holy Family with the Butterfly, the insect has also been taken to be a locust or a praying mantis, with the symbolic meaning in relation to the Virgin changing accordingly. A similar engraving in the American National Gallery of Art is named The Holy Family with the Mayfly, the critics Larry Silver and Pamela H. Smith write that the image provides an explicit link between heaven and earth. To suggest a cosmic resonance between sacred and profane, celestial and terrestrial, macrocosm and microcosm, Indianapolis Museum of Art Royal Collection National Gallery of Art Visitation Joachim and Anne Meeting at the Golden Gate Indianapolis Museum of Art page

45.
Engraving
–
Engraving is the practice of incising a design onto a hard, usually flat surface by cutting grooves into it. Wood engraving is a form of printing and is not covered in this article. Engraving was an important method of producing images on paper in artistic printmaking, in mapmaking. Other terms often used for printed engravings are copper engraving, copper-plate engraving or line engraving, hand engraving is a term sometimes used for engraving objects other than printing plates, to inscribe or decorate jewellery, firearms, trophies, knives and other fine metal goods. Traditional engravings in printmaking are also engraved, using just the same techniques to make the lines in the plate. Each graver is different and has its own use, engravers use a hardened steel tool called a burin, or graver, to cut the design into the surface, most traditionally a copper plate. Modern professional engravers can engrave with a resolution of up to 40 lines per mm in high grade work creating game scenes, dies used in mass production of molded parts are sometimes hand engraved to add special touches or certain information such as part numbers. In addition to engraving, there are engraving machines that require less human finesse and are not directly controlled by hand. They are usually used for lettering, using a pantographic system, there are versions for the insides of rings and also the outsides of larger pieces. Such machines are used for inscriptions on rings, lockets. Gravers come in a variety of shapes and sizes that yield different line types, the burin produces a unique and recognizable quality of line that is characterized by its steady, deliberate appearance and clean edges. The angle tint tool has a curved tip that is commonly used in printmaking. Florentine liners are flat-bottomed tools with multiple lines incised into them, ring gravers are made with particular shapes that are used by jewelry engravers in order to cut inscriptions inside rings. Flat gravers are used for work on letters, as well as wriggle cuts on most musical instrument engraving work, remove background. Knife gravers are for line engraving and very deep cuts, round gravers, and flat gravers with a radius, are commonly used on silver to create bright cuts, as well as other hard-to-cut metals such as nickel and steel. Square or V-point gravers are typically square or elongated diamond-shaped and used for cutting straight lines, V-point can be anywhere from 60 to 130 degrees, depending on purpose and effect. These gravers have very small cutting points, other tools such as mezzotint rockers, roulets and burnishers are used for texturing effects. Burnishing tools can also be used for stone setting techniques

46.
Entry of Christ into Jerusalem (van Dyck)
–
Entry of Christ into Jerusalem is a 1617 oil painting by Flemish artist Anthony van Dyck, located in the Indianapolis Museum of Art, which is in Indianapolis, Indiana. It depicts Jesus entering Jerusalem as described in the Gospels, the event celebrated on Palm Sunday, van Dycks presentation of Jesus entry into Jerusalem is quite consistent with the biblical accounts. The ass foal he rides is almost entirely enveloped by his robes of rich blue and he is surrounded by his disciples on foot, and jubilantly welcomed by a crowd of locals who lay branches in his path. It is a youthful, vigorous work, full of bright colors. The restlessness and muscularity of the figures are very Baroque, the naturalism and large size of figures gives them tremendous immediacy, lending drama to the narrative. Painted when van Dyck was only about 18, Entry of Christ into Jerusalem demonstrates his mastery of the medium. He was already Peter Paul Rubens principal assistant, while already working on developing his own, more robust style, van Dyck was heavily influenced by Rubens, as can be seen in the vibrant colors, dynamic composition, and grand scale. From November 2012 to March 2013, this painting was on display at the Prado as part of an exhibit called The Young van Dyck, covering his output from ages 16 to 22, this exhibit collected some 90 artworks from when he resided in Antwerp. This tally included 30 large, ambitious artworks like Entry of Christ into Jerusalem and this particular work, though, was noted as one of his most experimental, as the young artist sought to heighten the visual impact of his works. Entry of Christ into Jerusalem was purchased by Mr. and Mrs. Herman C, krannert in 1958 as a gift for the Herron School of Art, which later evolved, in part, into the IMA. It is currently on view in the William C, griffith Gallery and has the accession number 58.3. Triumphal entry into Jerusalem Entry of Christ into Jerusalem IMA page

47.
Anthony van Dyck
–
Sir Anthony van Dyck was a Flemish Baroque artist who became the leading court painter in England, after enjoying great success in Italy and Flanders. He also painted biblical and mythological subjects, displayed outstanding facility as a draughtsman, the Van Dyke beard is named after him. Antoon van Dyck was born to parents in Antwerp. By the age of fifteen he was already an accomplished artist, as his Self-portrait, 1613–14. He was admitted to the Antwerp painters Guild of Saint Luke as a master by February 1618. His influence on the young artist was immense, Rubens referred to the nineteen-year-old van Dyck as the best of my pupils. At the same time the dominance of Rubens in the small and declining city of Antwerp probably explains why, despite his periodic returns to the city, van Dyck spent most of his career abroad. In 1620, at the instigation of George Villiers, Marquess of Buckingham, van Dyck went to England for the first time where he worked for King James I of England, receiving £100. After about four months he returned to Flanders, but moved on in late 1621 to Italy and he was already presenting himself as a figure of consequence, annoying the rather bohemian Northern artists colony in Rome, says Giovan Pietro Bellori, by appearing with the pomp of Zeuxis. He was mostly based in Genoa, although he travelled extensively to other cities. In 1627, he went back to Antwerp where he remained for five years, a life-size group portrait of twenty-four City Councillors of Brussels he painted for the council-chamber was destroyed in 1695. He was evidently very charming to his patrons, and, like Rubens, well able to mix in aristocratic and court circles, by 1630 he was described as the court painter of the Habsburg Governor of Flanders, the Archduchess Isabella. In this period he produced many religious works, including large altarpieces. King Charles I was the most passionate and generous collector of art among the British monarchs, and saw art as a way of promoting his elevated view of the monarchy. In 1628, he bought the collection that the Gonzagas of Mantua were forced to dispose of. In 1626, he was able to persuade Orazio Gentileschi to settle in England, later to be joined by his daughter Artemisia and some of his sons. Rubens was a target, who eventually came on a diplomatic mission, which included painting, in 1630. He was very well-treated during his visit, during which he was knighted

Indianapolis Museum of Art
–
The Indianapolis Museum of Art is an encyclopedic art museum located in Indianapolis, Indiana, United States. The museum, which underwent a $74 million expansion in 2005, is located on a 152-acre campus on the near northwest area outside downtown Indianapolis, the Indianapolis Museum of Art is the ninth oldest and eighth largest encyclopedic art mu

1.
Indianapolis Museum of Art

2.
Interior view of the Clowes Pavilion

3.
View of Oldfields from the allée.

4.
Aristotle (1637), by Jusepe de Ribera, is within the IMA's permanent collection.

Neo-Impressionism
–
Neo-Impressionism is a term coined by French art critic Félix Fénéon in 1886 to describe an art movement founded by Georges Seurat. Around this time, the peak of France’s modern era emerged, followers of Neo-Impressionism, in particular, were drawn to modern urban scenes as well as landscapes and seashores. Science-based interpretation of lines and

1.
A Sunday Afternoon on the Island of La Grande Jatte

2.
Paul Signac, 1890, Portrait of Félix Fénéon (in front of an enamel of a rhythmic background of measures and angles, shades and colors), oil on canvas, 73.7 x 92.5 cm (28.9 x 36.4 in.), Museum of Modern Art, New York

Modern art
–
Modern art includes artistic work produced during the period extending roughly from the 1860s to the 1970s, and denotes the style and philosophy of the art produced during that era. The term is associated with art in which the traditions of the past have been thrown aside in a spirit of experimentation. Modern artists experimented with new ways of

1.
Pablo Picasso, Dejeuner sur l'Herbe

2.
Henri de Toulouse-Lautrec, At the Moulin Rouge: Two Women Waltzing, 1892

African art
–
African art is a term typically used for the art of Sub-Saharan Africa. Often, casual, amateur observers tend to generalize traditional African art, the definition may also include the art of the African diasporas, such as the art of African Americans. Despite this diversity, there are some unifying artistic themes when considering the totality of

1.
Mask from Gabon

2.
Mambila figure, Nigeria

3.
Yoruba bronze head sculpture, Ife, Nigeria c. 12th century A.D.

4.
Makonde carving c.1974

Asian art
–
The history of Asian art, or Eastern art, includes a vast range of influences from various cultures and religions. Developments in Asian art historically parallel those in Western art, in general a few centuries earlier, Chinese art, Indian art, Korean art, Japanese art, each had significant influence on Western art, and, vice versa. Near Eastern a

1.
Kalachakra Dance Mask

3.
Ming Dynasty Xuande Archaic Porcelain Vase

4.
" Deity " Zhong Kui the Demon Queller

Contemporary art
–
Contemporary art is the art of today, produced by artists who are living in the twenty-first century. Contemporary art provides an opportunity to reflect on contemporary society and the relevant to ourselves. Contemporary artists work in a globally influenced, culturally diverse, and their art is a dynamic combination of materials, methods, concept

1.
History of art

2.
The Museum of Contemporary Art in Miami, Florida.

Sunlight (Benson)
–
Sunlight is an oil painting by Frank Weston Benson currently in the permanent collection at the Indianapolis Museum of Art. Sunlight is created in the American impressionist style and it is a portrait of a woman, who has been identified as Bensons daughter, Eleanor, standing on a hill, looking out towards the Atlantic Ocean off Penobscot Bay in Mai

1.
Sunlight

Frank W. Benson (painter)
–
He began his career painting portraits of distinguished families and murals for the Library of Congress. Some of his best known paintings depict his daughters outdoors at Bensons summer home, Wooster Farm, on the island of North Haven and he also produced numerous oil, wash and watercolor paintings and etchings of wildfowl and landscapes. In 1880,

1.
circa 1895

2.
Frank Weston Benson

3.
Rail, c. 1878-1879, Private collection

4.
After the Storm, 1884, Private collection

Oil paint
–
Oil paint is a type of slow-drying paint that consists of particles of pigment suspended in a drying oil, commonly linseed oil. The viscosity of the paint may be modified by the addition of a solvent such as turpentine or white spirit, Oil paints have been used in Europe since the 12th century for simple decoration, but were not widely adopted as a

1.
View of Delft in oil paint, by Johannes Vermeer.

2.
Pigments for sale at a market stall in Goa, India.

Canvas
–
Canvas is an extremely durable plain-woven fabric used for making sails, tents, marquees, backpacks, and other items for which sturdiness is required. It is also used by artists as a painting surface. It is also used in such objects as handbags, electronic device cases. The word canvas is derived from the 13th century Anglo-French canevaz, both may

1.
Canvas stretched on wooden frame

2.
Canvas on stretcher bar

3.
One of Poland 's largest canvas paintings, the Battle of Grunwald by Jan Matejko (426 cm × 987 cm (168 in × 389 in)), displayed in the National Museum in Warsaw.

4.
Canada Post canvas bags

Breton Women at a Wall
–
Breton Women at a Wall is an oil painting by Émile Bernard. It is part of the permanent collection of the Indianapolis Museum of Art, Bernard most likely painted this painting from memory, modeled after a trip he took with Paul Gauguin in 1888 to Brittany. The painting has five Breton women and one man gathering around a wall and their faces are po

1.
Breton Women at a Wall

Cardboard (paper product)
–
Despite widespread use in general English and French, the term is deprecated in business and industry. Material producers, container manufacturers, packaging engineers, and standards organizations, there is still no complete and uniform usage. Often the term cardboard is avoided because it does not define any particular material, the term has been

1.
Tubes made of cardboard

2.
Corrugated cardboard

3.
Playing cards

4.
A postcard from 1908

Tidying Up
–
Tidying Up is an oil painting by American artist Isabel Bishop. It is currently in the permanent collection at the Indianapolis Museum of Art, Tidying Up depicts a young contemporary working woman in an unguarded moment of checking herself in her hand mirror. Bishops work generally focuses on young women caught during the idle moments away from the

1.
Tidying Up

Isabel Bishop
–
Isabel Bishop was an American painter and graphic artist who depicted urban scenes of Union Square, New York, from the 1930s to the 1970s. She is best known for her depiction of American women and as a member of the Fourteenth Street School of artists. Bishop was born in Cincinnati, Ohio and her parents were descended from old, wealthy and highly e

Masonite
–
Masonite is a type of hardboard made of steam-cooked and pressure-molded wood fibres in a process patented by William H. Mason. This product is known as Quartrboard, Isorel, hernit, karlit. A product resembling masonite was first made in England in 1898 by hot-pressing waste paper, Masonite was patented in 1924 in Laurel, Mississippi, by William H.

1.
Masonite board

2.
Back side of a masonite board.

3.
Isorel, с.1920

4.
Quartrboard, Masonite CORPORATION, c.1930

Morning at Grand Manan
–
Morning at Grand Manan is an oil painting by Alfred Thompson Bricher. It is part of the permanent collection at the Indianapolis Museum of Art, painted along Grand Manan Island, a favorite vacation spot of the artist in New Brunswick, Canada, Bricher painted the sunrise coming above the Atlantic Ocean in a tiny inlet on the coast. Four sailing ship

1.
Morning at Grand Manan

Alfred Thompson Bricher
–
Alfred Thompson Bricher was a painter associated with White Mountain art and the Hudson River School. Bricher was born in Portsmouth, New Hampshire and he was educated in an academy at Newburyport, Massachusetts. He began his career as a businessman in Boston, Massachusetts, when not working, he studied at the Lowell Institute. He also studied with

1.
Alfred Thompson Bricher

2.
Time and Tide, 1873, Dallas Museum of Art

3.
Castle Rock, Marblehead (1878), Smithsonian American Art Museum

4.
Blue Point, Long Island, 1888

The Negress
–
The Negress is a bronze sculpture by French artist Jean-Baptiste Carpeaux. It is now in the permanent collection at the Indianapolis Museum of Art, the Negress portrays a woman who is the personification of the continent of Africa. The woman is looking to the side, her figure twisting to the left and her twisting body contributed to the fountains c

1.
The Negress

Jean-Baptiste Carpeaux
–
Jean-Baptiste Carpeaux was a French sculptor and painter during the Second Empire under Napoleon III. Born in Valenciennes, Nord, son of a mason, his studies were under François Rude. Carpeaux entered the École des Beaux-Arts in 1844 and won the Prix de Rome in 1854, staying in Rome from 1854 to 1861, he obtained a taste for movement and spontaneit

1.
The Seasons turning the celestial Sphere for the Fountain of the Observatory, Jardin du Luxembourg

2.
Illustration of Carpeaux by Étienne Bocourt in the Illustrated Sporting and Dramatic News, after his death. His Flore is below him, and other work above

3.
Patinated plaster model for Valenciennes defending the arts of peace with the arts of war

4.
La Danse (The Dance), for the Opera Garnier, heavily criticized as being indecent

Bronze
–
These additions produce a range of alloys that may be harder than copper alone, or have other useful properties, such as stiffness, ductility, or machinability. The archeological period where bronze was the hardest metal in use is known as the Bronze Age. In the ancient Near East this began with the rise of Sumer in the 4th millennium BC, with Indi

1.
Yoruba bronze head sculpture, Ife, Nigeria c. 12th century AD

2.
Bronze deer figurine dating from between the 9th and 6th centuries BC, National Archaeological Museum of Sofia

3.
A hoard of bronze socketed axes from the Bronze Age found in modern Germany. This was the top tool of the period, and also seems to have been used as a store of value.

4.
Chinese Ding, Western Zhou (1046–771 BC)

House in Provence
–
House in Provence is an oil painting by French artist Paul Cézanne. Created in 1885, it is part of the permanent collection in the Indianapolis Museum of Art. With muted tones and soft colors, Cézanne painted a home, accented by the mountains in the background, the soft greens of the rolling hills. Cézannes dynamic style is best observed closely in

1.
House in Provence

Dorothy (Chase)
–
Dorothy is an oil painting by American artist William Merritt Chase. Created in 1902, it is part of the permanent collection in the Indianapolis Museum of Art. The images subject is Chases 11-year-old daughter, Dorothy, wearing a dress with full-length sleeves, a straw hat with a green bow, a black belt, black tights. She is standing against a back

1.
Dorothy

William Merritt Chase
–
William Merritt Chase was an American painter, known as an exponent of Impressionism and as a teacher. He is also responsible for establishing the Chase School, which later would become Parsons The New School for Design. William Merritt Chase was born on November 1,1849, in Williamsburg, Indiana, to the family of Sarah Swain and David H. Chase, Cha

John Sell Cotman
–
John Sell Cotman was an English marine and landscape painter, etcher, illustrator, author and a leading member of the Norwich school of artists. Cotman was born in Norwich, England, on 16 May 1782, the eldest son of a silk merchant and lace dealer. He showed a talent for art from an age and would often go out on frequent drawing trips into the surr

1.
The Mouth of the Yare

2.
Ruins of Rievaulx Abbey, Yorkshire (1803)

3.
Greta Bridge (watercolour, 1805)

4.
Drainage Mills in the Fens, Croyland, Lincolnshire

Watercolor
–
Watercolor or watercolour, also aquarelle, a diminutive of the Latin for water, is a painting method in which the paints are made of pigments suspended in a water-based solution. Watercolor refers to both the medium and the resulting artwork, the traditional and most common support—material to which the paint is applied—for watercolor paintings is

4.
An unfinished watercolor by William Berryman, created between 1808 and 1816, using watercolor, ink, and pencil. The use of partial pigmentation draws attention to the central subject.

Gum arabic
–
Gum arabic, also known as acacia gum, is a natural gum consisting of the hardened sap of various species of the acacia tree. Producers harvest the gum commercially from wild trees, mostly in Sudan and throughout the Sahel, from Senegal to Somalia—though it is cultivated in Arabia. Gum arabic is a mixture of glycoproteins and polysaccharides. It is

The Crucifixion (Cranach)
–
Crucifixion is an oil painting by German artist Lucas Cranach the Elder. One of many versions of the subject painted by Cranach, this one, the bottom half of the painting is crowded with figures, all symbolically arranged to the left and the right of Christ. On the right is the Virgin Mary, who is held by John the Evangelist, the Good Thief and Lon

1.
Crucifixion

Lucas Cranach the Elder
–
Lucas Cranach the Elder was a German Renaissance painter and printmaker in woodcut and engraving. He also painted religious subjects, first in the Catholic tradition and he continued throughout his career to paint nude subjects drawn from mythology and religion. He had a workshop and many works exist in different versions, his son Lucas Cranach the

2.
Signature of Cranach the Elder from 1508 on: winged snake with ruby ring (as on painting of 1514)

3.
Apollo and Diana

Panel painting
–
A panel painting is a painting made on a flat panel made of wood, either a single piece, or a number of pieces joined together. Panel painting is very old, it was a very prestigious medium in Greece and Rome, a series of 6th century BC painted tablets from Pitsa represent the oldest surviving Greek panel paintings. Most classical Greek paintings th

1.
The Ghent Altarpiece by Jan van Eyck and his brothers, 1432. A large altarpiece on panel. The outer wings are hinged, and painted on both sides.

3.
The Frankfurt Paradiesgärtlein, a German panel painting from circa 1410

4.
Russian icon by Andrey Rublev, early 15th century, on a three piece panel. The raised edges are probably gesso rather than wood

Chinese Souls
–
Chinese Souls #2 is a quilt by American artist Nancy Crow, located at the Indianapolis Museum of Art, in Indianapolis, Indiana, United States. It was created in 1992 as part of a series of memorial quilts she began in response to an atrocity she witnessed in China in 1990, Chinese Souls #2 is made of resist-dyed fabric which has been embroidered, m

1.
Chinese Souls #2

2.
Quilting

Resist dyeing
–
Resist dyeing is a term for a number of traditional methods of dyeing textiles with patterns. Methods are used to resist or prevent the dye from reaching all the cloth, thereby creating a pattern, the most common forms use wax, some type of paste made from starch or mud, or a mechanical resist that manipulates the cloth such as tying or stitching.

1.
Indonesian batik fabric

2.
Rōketsuzome printing wheels at Roketsuzome Yamamoto, Kyoto.

3.
A mix of modern and traditional Ukrainian pysanky

4.
Techniques

Fabric
–
A textile or cloth is a flexible material consisting of a network of natural or artificial fibres. Yarn is produced by spinning raw fibres of wool, flax, cotton, hemp, Textiles are formed by weaving, knitting, crocheting, knotting, or felting. The words fabric and cloth are used in textile assembly trades as synonyms for textile, however, there are

1.
Sunday textile market on the sidewalks of Karachi, Pakistan

2.
Simple textile (magnified)

3.
A small fabric shop in Al-Mukalla, Yemen

4.
Late antique textile, Egyptian, now in the Dumbarton Oaks collection

The Valkhof at Nijmegen
–
The Valkhof at Nijmegen is an oil painting by Dutch artist Aelbert Cuyp, likely painted between 1652 and 1654, during the Dutch Golden Age. It is currently part of the permanent collection in the Indianapolis Museum of Art, the Valkhof at Nijmegen typifies the Dutch landscape. A small boat filled with fisherman wait to capture lobsters, two fat cow

1.
The Valkhof at Nijmegen

Aelbert Cuyp
–
Aelbert Jacobsz Cuyp was one of the leading Dutch landscape painters of the Dutch Golden Age in the 17th century. The most famous of a family of painters, the pupil of his father Jacob Gerritsz Cuyp, Aelbert Cuyp was born in Dordrecht on October 20,1620, and also died there on November 15,1691. Known as the Dutch equivalent of Claude Lorrain, this

1.
Aelbert Cuyp in Vaderlandse Historie 2 (1926)

2.
The Maas at Dordrecht (circa 1650), showing the Maas River in front of Cuyp's hometown of Dordrecht, National Gallery of Art.

3.
Aelbert Cuyp - Piping Shepherds (Metropolitan Museum of Art)

4.
Herd of Sheep at Pasture, 1650, Städelsches Kunstinstitut

Young Woman in Blue
–
Young Woman in Blue is a drawing by French artist Edgar Degas, created in 1884. It is currently in the permanent collection at the Indianapolis Museum of Art, the subject appears to be a young saleswoman, observed in a Parisian hat shop. She is seen from above and behind, and her back is straitlaced and her hair is tied in a tight bun at the base o

1.
Young Woman in Blue

Edgar Degas
–
Edgar Degas was a French artist famous for his paintings, sculptures, prints, and drawings. He is especially identified with the subject of dance, more than half of his works depict dancers and he is regarded as one of the founders of Impressionism, although he rejected the term, preferring to be called a realist. He was a draftsman, and particular

Pastel
–
A pastel is an art medium in the form of a stick, consisting of pure powdered pigment and a binder. The pigments used in pastels are the same as used to produce all colored art media, including oil paints. The color effect of pastels is closer to the natural dry pigments than that of any other process, Pastels have been used by artists since the Re

Christian Dior
–
Christian Dior was a French fashion designer, best known as the founder of one of the worlds top fashion houses, also called Christian Dior, which is now owned by Groupe Arnault. Christian Dior was born in Granville, a town on the coast of Normandy. He was the second of five born to Maurice Dior, a wealthy fertilizer manufacturer. He had four sibli

1.
Christian Dior on a 2005 Romanian stamp

2.
The Christian Dior Home and Museum in Granville (Manche), France.

3.
The "Bar" suit, Corolle, 1947, as displayed in Moscow in 2011.

Chiffon (fabric)
–
Chiffon is a lightweight, balanced plain-woven sheer fabric woven of alternate S- and Z-twist crepe yarns. The twist in the crepe yarns puckers the fabric slightly in both directions after weaving, giving it some stretch and a rough feel. Early chiffon was made purely from silk, in 1938, however, a nylon version of chiffon was invented, and in 1958

1.
The American actress Lillian Gish in morning dress in chiffon and lace in 1922

Reflections (Dove)
–
Reflections is an abstract oil on canvas painting by American artist Arthur Dove from 1935, currently located at the Indianapolis Museum of Art, which is in Indianapolis, Indiana, US. Reflections is a highly representative Dove piece, an abstract landscape with trees under a prominent sun. The whimsy, organic elements, and prominent sun and moon ar

1.
Reflections

Arthur Garfield Dove
–
Arthur Garfield Dove was an American artist. An early American modernist, he is considered the first American abstract painter. Dove used a range of media, sometimes in unconventional combinations, to produce his abstractions. Me and the Moon from 1937 is an example of an Arthur Dove abstract landscape and has been referred to as one of the culmina

4.
The Critic (1925), Whitney Museum of American Art, New York. Dove did a series of experimental collage works in the 1920s.

Courre Merlan (Whiting Chase)
–
Courre Merlan is an oil painting by French artist Jean Dubuffet. It has been part of the permanent collection of the Indianapolis Museum of Art since 1992 and it consists of a large free-form shape that nearly fills the canvas and is placed on a dark, textured background. This large shape contains smaller, neatly outlined, puzzle-like shapes, most

1.
Courre Merlan (Whiting Chase)

Jean Dubuffet
–
Jean Philippe Arthur Dubuffet was a French painter and sculptor. He is perhaps best known for founding the art movement Art Brut, Dubuffet enjoyed a prolific art career, both in France and in America, and was featured in many exhibitions throughout his lifetime. Dubuffet was born in Le Havre to a family of wine merchants who were part of the wealth

The Holy Family with the Dragonfly
–
It is quite small but full of intricate detail. A very popular image, subject to infringement within five years of creation, it appears in collections, including the Indianapolis Museum of Art and the UK Royal Collection. The Holy Family with the Dragonfly, alternately known as The Holy Family with the Butterfly, The Holy Family with the Locust, in

1.
The Holy Family with the Dragonfly

2.
A variant: The Holy Family with the Mayfly (NGA 1943.3.3453)

3.
Insect in Dürer's The Holy Family with the Mayfly. Detail of " mayfly " in lower right corner of engraving

4.
The common European mayfly Ephemera vulgata

Engraving
–
Engraving is the practice of incising a design onto a hard, usually flat surface by cutting grooves into it. Wood engraving is a form of printing and is not covered in this article. Engraving was an important method of producing images on paper in artistic printmaking, in mapmaking. Other terms often used for printed engravings are copper engraving

1.
St. Jerome in His Study (1514), an engraving by Northern Renaissance master Albrecht Dürer

2.
Artist and engraver Chaim Goldberg at work

3.
An assortment of hand engraving tools

4.
At an engravers workshop: Miniature engraving on a Louis George watch movement: Smallest engraving of the royal Prussian eagle on a watch movement. It takes about 100 passes to create the figure.

Entry of Christ into Jerusalem (van Dyck)
–
Entry of Christ into Jerusalem is a 1617 oil painting by Flemish artist Anthony van Dyck, located in the Indianapolis Museum of Art, which is in Indianapolis, Indiana. It depicts Jesus entering Jerusalem as described in the Gospels, the event celebrated on Palm Sunday, van Dycks presentation of Jesus entry into Jerusalem is quite consistent with th

1.
Entry of Christ into Jerusalem

Anthony van Dyck
–
Sir Anthony van Dyck was a Flemish Baroque artist who became the leading court painter in England, after enjoying great success in Italy and Flanders. He also painted biblical and mythological subjects, displayed outstanding facility as a draughtsman, the Van Dyke beard is named after him. Antoon van Dyck was born to parents in Antwerp. By the age

3.
Ink drawing of Ganesha under an umbrella (early 19th century). Ink, called masi, an admixture of several chemical components, has been used in India since at least the 4th century BC. The practice of writing with ink and a sharp pointed needle was common in early South India. Several Jain sutras in India were compiled in ink.

2.
"Two Running Violet V Forms" — site-specific sculpture by artist Robert Irwin. Located in the eucalyptus grove behind the Faculty Club at UCSD, San Diego. Part of the on campus Stuart Collection of site specific outdoor sculptures.

3.
Illustrative and secure bromine chemical sample used for teaching. The sample vial of corrosive and poisonous liquid has been cast into an acrylic plastic cube

4.
Close-up of pressure sphere of Bathyscaphe Trieste, with single conical window of PMMA (Plexiglas) set into sphere hull. The very small black circle (smaller than the man's head) is the inner side of the plastic "window," and is only a few inches in diameter. The larger circular clear black area represents the larger outer-side of the thick one-piece plastic cone "window."